Utica Jubilee Singers Spirituals
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OLIVER DITSON COMPANY
William H. Holtzclaw Library
Utioa Ju*lar CoJUge
Utica. MS 39175
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William H. Holtzclaw Library
Utioa Jumor Collage
Utica, MS 39175 "
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UTIGA JUBILEE SINGERS
SPIRITUALS
As sung at the Utica Normal and Industrial
Institute of Mississippi
Taken down by
J. ROSAMOND JOHNSON
With Introduction by.
C. W. HYNE
$2.00
OLIVER DITSON COMPANY
THEODORE PRESSER CO., DISTRIBUTORS
1712 CHESTNUT STREET, PHILADELPHIA
MADE IN U. S. A.
Copyright MCMXXX by Oliver Ditson Company
International Copyright Secured
NEGRO SPIRITUAL
Dark pain, and fierce
when wed to subtle fate,
conceived
and gave — in labored seasons of despair —
a noble birth to song.
It first was but a chant:
a salvaged echo snatched from
some old wild melody
that once swelled and softened to
savage throbs of jungle drums.
From barbaric chant to poignant fugues,
those naked, fragile tones flowered
into symphonic harmonies
of vocal song —
that tell in soft, exotic minors
the genesis of a^ race reborn—
and whose only rivals are
the singing stars.
HERBERT HENEGAN
DOWN HI THE RIVERSIDE
(I-rom the pain ring l>\ Malvin (!ra) Johnson)
J
INTRODUCTION
A prominent American Negro, one well known in the field of music, was heard to
state in the summer of 1926 that "the Spiritual just now is enjoying an unusual popu-
larity" and expressed the belief that its popularity would probably pass.
We venture the opinion that the Spiritual will not only retain its present popularity,
but will increase constantly in favor and retain for itself a prominent place in the affec-
tions of the music-loving public. Folk-music is cherished by people of all tastes and
walks of life. There are those who love the classics and abhor jazz. Jazz devotees are
apt to regard classical music as boresome. But the hearts of both respond to Swing
Low Sweet Chariot, Old Black Joe, Kathleen Mavourneen, and Mother Machree. Folk-
music has a ready and lasting appeal, and will always continue to hold its appeal. When
properly sung, the Spiritual is one of the most lovable and most intriguing types of folk-
music. The distinguishing characteristics common to folk-music are a simplicity of
melody, a wealth of sentiment, and an unusual something which can only be expressed
as folk naivete. The field of negro music, especially, is rich in all three qualities. Where
else will you find such original freshness and spontaneity which are a constant delighi
to the listener? Humor crops out in unexpected places, usually wholly unintended,
therefore the more delightful.
The Negro race is frequently spoken of as being highly emotional. Without agree-
ing or disputing, it is true that there is a rkhness of sentiment in these songs of the race
that well defies duplication. Its mood is frequently a deep earnestness; other times an
infectious humor; again a note of warning, of prophecy, or of deep concern. The grief
expressed in such a song as Nobody Knows de Trouble I See can only be described as
gripping.
The rise of negro music to popular liking, especially the Spiritual, is therefore logical,
to be expected, and has in it the basic elements which will make its popular appeal not a
transitory thing.
The Spiritual makes its great appeal both from melodic content and from its text.
The melody of most of them, taken alone, would not establish them as something unusual ;
but add to these melodies the unusual poetry, the imagery, the startling ideas expressed,
the originality of phrasing — in short, the naivete of it all — and you have "a thing of
beauty and a joy forever." The combination of swinging rhythm, stark simplicity,
unusual melody in many cases, and original text, is the secret of the Spiritual's strong
appeal. The simplicity of the songs makes them altogether refreshing in an age sur-
feited with artificiality and a slavish seeking after "artistry" while overlooking the great
fact that simplicity, sincerity, and naturalness are the soul of art. Rob these songs of
their rhythm, substitute highly sophisticated arrangements, and the charm is gone.
Mention must be made also of other qualities typical of Negro musicianship among
the folk, namely, the use of quarter-tones, slurrings, and unusual harmonies. It is a real
loss when these qualities are sacrificed to conventional orthodoxy when the folk-songs arc
reproduced in singing or on paper. Standardization is desirable in traffic regulation
but hardly in folk-music. The whole world is more and more seeking after originality,
and denatured Spirituals remind one of the attempt of one race to remove the curl from
the hair and of the other to put it in.
It should be said right here that there is a distinctive mellow timbre to the Negro
voice which in group singing makes possible a matchless effect of harmony. The white
man cannot achieve this remarkable blending effect, nor can he imitate the qi-ality of
voice. Thus the American Negro is particularly adapted to make a splendid contribu-
tion to the world of music, and that contribution can be most effective and distinctive
when standardization and imitation are i educed to a minimum.
There was once a pronounced tendency to be ashamed of the spirituals and jubilees.
A few far-seeing leaders of the race noted and sought to correct this tendency. Hut
they were as voices crying in the wilderness. It is understandable that in the desire to
leave slavery and its memories behind, that in this seeking after a fuller expression, the
Spiritual, because of its distasteful connotations, was being more and more let severely
alone.* The Negro churches were no different in their attitude, except in the rural sec-
tions where the Spiritual clung to life and survived because of the sheer desire to sing
on the part of the men and women in the congregation. At Hampton Institute, at
Tuskegee, and at Fisk University, steps were taken to preserve and to record these songs,
and a pride in them was taught and encouraged. Now recognition of their high place is
general among Negro institutions of learning and it is even difficult to find a white glee-
club which does not include at least two or three Spirituals on its program. The danger
now lies in the attempt to "dress them up" unduly, but that too will pass.
To many it is no secret that a visit to a little rural negro church is a treat never to
be forgotten. Marvelous the experience, to go down to Zion Traveller Church and hear
Glory, Glory, Hallelujah, When I lay my burden dotenl The swing of it! The indescrib-
able symphony of sound intoned in an utter abandon cf joy and happiness. The vibrant
voices fairly make the song live, for to the singers their religion is full of meaning.
Morning Star Baptist Church
We present the Utica Institute's book of Spirituals and other songs, taken down
exactly as sung by the Utica Jubilee Singers. Grateful acknowledgment is due to Mr.
J. Rosamond Johnson for his service in putting them on paper with such faithfulness
in detail.
Included in the book are reproductions of several paintings by the young Negro
artist, Malvin Cray Johnson. The Jubilee Singer on the cover is by another talented
Negro artist, Richmond Barthe. We wish to acknowledge indebtedness also to those
who have helped us by their encouragement and suggestions, not forgetting William
Arms Fisher, James Weldon Johnson, Dr. Melville Charlton, Harrv T. Burleigh and
Miss Carlette Thomas. Mr. Charles R. Lawrence, director of Musical the Utica Insti-
tute, through his many years of devotion, training and directing Jubilee groups, is re-
sponsible in great part for the contribution which it is hoped the various Utica quartets
have made.
And of course without the unflagging devotion of our Principal. William H. Holtz-
claw, there would be no Utica.
We now pass to a brief attempt at definition.
•W.lliam Ar ms |:, sh cr recounts that on a vis.t to Washington, D. C. he made inquiry as to where he might hear
service and to his keen disappointment heard not one Spinrual. A/ter the service was over he voiced his disau
$ZiE2££lETS . r^'T' Wh °- fr c ankl >' Unab ' C '° ""derstand such a desire, res Id d w h
the out,™! of town " '" *■" ""* ^ "° M h " Ve '° g ° ° U ' '° IOme o( rhe U » le «*■ d»P* °"
DEFINITION
When one attempts to learn just what a Spiritual* is, he discovers much to his amaze-
ment that there are almost no definitions of this much discussed phenomenon in print.
The term has been used loosely to indicate almost any Negro folk-song, and some that
are not folk-songs. To some it has signified any Negro religious song. It is both of
course, and yet it is neither. It is a religious song, but not all Negro religious songs are
Spirituals. It is a folk-song but not all Negro folk-songs are Spirituals. Just what a
Spiritual is it will be our purpose to determine, although, of course, no one individual is
justified in attempting to speak with authority
We have asked several noted Negro musicians for their definition. Dr. Melville
Charlton, who for eighteen years was organist of the Union Theological Seminary at New
York, artd undoubtedly one of the great organists of the country, defies a Spiritual "in
a specific sense as an American Negro religious folk-song." He would include any
Negro religious song, not composed, in this category. J. Rosamond Johnson, who has
studied, sung and composed the music of his race very extensively, defines a Spiritual
as "an American Negro folk-song, its rhythm derived from the African tom-tom beat,
with the substance of its text based on prayer and religious fervor; set to the characteristic
musical cadence of Negro melody." His brother, James Weldon Johnson, who wrote
a very understanding and instructive preface to Mr. Johnson's collection of Spirituals,**
puts it in slightly different words when he writes, "They are religious folk-songs origi-
nated by the Negro in the South and used strictly for purposes of religious worship."
Harry T. Burleigh, who is equally well known as a composer and as soloist of St. George's
Church, New York, defines a Spiritual as follows:
"The plantation songs known as Spirituals are the spontaneous outpourings of in-
tense religious fervor and have their origin chiefly in camp-meetings, revivals, and other
religious exercises. They were never composed but sprang into life ready-made from the
white heat of religious fervor, during some protracted meeting.in camp or church, as the
simple, ecstatic utterance of wholly untutored minds, and are practically the only music
of America which meets the scientific definition of folk-song." Mr. Burleigh then goes
on to state that deep spirituality and rhythm are essential components and makes the
rather impressive statement that the voice is not so important as the spirit.
It would appear from these various definitions that there are several fundamental
properties of the Spiritual, namely: origin among Southern Negro folk; that it shall have
grown up uncomposed; its subject matter religion, and possessed of much fervor; a charac-
teristic melody; its rhythm based on the native African tom-tom beat; and finally, that
it should be the spontaneous outpouring of the spirit.
With respect to its origin, it is generally assumed that the Spiritual was born in
slavery. A very large part of them were, but it is not so certain that there have been no
Spirituals created since Emancipation. While it is very difficult, if not impossible, to
trace the origin of practically all of them, there is good reason to believe that Spirituals
and other allied forms of religious folk-songs have been constantly springing up, and are
'And may we register an emphatic protest against the pronunciation of this word as "spiriruellt," which one hears
too frequently.
**The Book of American Negro Spiritua/s—\'\\t\ng Press, N. Y.
being born even today. As James Weldon Johnson points out in his preface, there are
two principal theories as to the origin of the Spirituals. One is that they are the spon-
taneous outpourings of the Negro congregations, and, like Topsy, "just grew." The
other school holds they are the product of talented individuals. And, as is probably
true of every moot question, both are true. The Spiritual arose in both ways, but
generally the two influences worked interchangeably. A talented individual led the
singing in meeting, possibly repeating phrases of the preacher and improvising as he went
along, the others coming in with the responses and repeating the verses as they learned
them. Mr. Johnson relates that as a boy'he remembers especially two unusual musical
personalities, "Ma" White and "Singing" Johnson. Ma White was always in her ac-
customed place leading the singing, when the new-fangled choir did not usurp her right.
She was the recognized song-leader and took her duties seriously, one of them being to
sing down a long winded or uninteresting speaker at love-feasts or experience meetings,
and even to cut short a prayer of undue length by raising a song. Ma White knew very
many songs but never composed any. Singing Johnson, however, woe * »-;;- ' 1C J j N ' e gro
bard, lie sang his way trom community to community. His coming was eagerly anti-
cipated. The congregation hung on his voice, alert to learn a new song. As they lis-
tened, some would join in uncertainly, the keener ears soon catching the melody and
words. The whole congregation easily learned the response, which is generally unvary-
ing. Always the strong voice of the leader corrected errors until the song was learned
perfectly. Singing Johnson undoubtedly derived his support in somewhat the same
way as the preachers: part of a collection, food, and lodging. He spent his leisure time
in originating new words and melodies and new lines for old songs. A maker of songs
and a man with a delicate sense of when to come to the preacher's support after a climax
in the sermon, by breaking in with a line or two of a song that expressed a certain senti-
ment, often just a single line. Singing Johnson always sang with his one eye closed, and
indicated the tempo by swinging his head and body. He was of the line of bards of an
earlier day and exemplified how they worked, and how many Spirituals were "composed."
Such leaders were in turn modified and influenced by the group in action.
Kate Speake Penney* draws a very compelling picture of a church scene which is an
illustration of another way in which Spirituals can be born without a "Singing" Johnson
being present. The preacher is speaking: —
"My friends, I wants to give you the benefit of a 'sperience I done had since dis
meetin commenced. I lef here Thursday night feelin' mighty happy. Brudder Lige
and Sis Mandy had done come through, to say nothing' of a parcel of chillen dat was
saved. When I got home I laid myself down an' kep' my body quiet, but my mind jes
kep' a shoutin' an a singin' an' fust thing I knowed I was caught right up into heb'n. 1
went straight through de silver stars and landed in de golden streets. Dar was a heap
ob folks I knowed, but dere wasn't a kinky head nor a black skin among cm: de Nethi-
opian had changed his skin. Dere was white folks dere dat had been black folks here.
Dcy was shiny white wid blue and yallcr hair an' star dust on dere wings. I kep' a-
lookin' an' a lookin' for folks dat I knowed in reason ought to be dere; not jes de cxtry
good, you know — de extry good ones was dar all right — but de medium good ones; dem
kind I couldn't spy nowhar. So I axes St. Peter.
"'Marse St. Peter,' says I, 'hit 'pears to me dat Brudder So-and-So an' Sis Thing-
umbob ain'' here. Looks like dey sholy would be in heb'n. An' dat ain't all. Dcre's
so much room up here dis place look kind of empty-like to me. Why, de big majority
of de folks I 'spected to see here is absent. It makes me kind o' skeercd. If dey ain't
able to git through de golden gate I knows a powerful heap of folks dat's gwine to be
mighty disappointed when Jedgment Day comes.' St. Peter, lie didn't make me no
•In Und Poor— Published by Harold Vinal, Ltd.
answer, hui he look down a big book he had <Jar, and den he say, 'You's right, Preacher:
desc folks you specif)' warn'! no mis'able sinners; my books show dcy was pretty tillable
good.' Den he raise his voice an' holler out, 'Brudder Gabriel, dcre's a little matter-
merit here what I wants to consult you about.' De Angel Gabriel lie floats in and dey
talks togedder low an serious like. 'Preacher,' he 'lows, 'we don't make no mistakes up
here an' our books is always right, but dere's somethin puzzlin' 'bout dem folks. All
three of us will jes meander down to Hell an' see if we finds 'em down dar.' 'Scusc me,
Marse Gabriel,' says I, 'I'se plum satisfied. Dem folks ain't nothin' to me nohow,
nothing special a-t all !' St. Peter, he kinder laugh and he say, 'Don't be skeered, Preacher,
we guarantee you gits back to earth all right. Your time ain't come yet. Lo', Brudder
Gabriel,' he say, 'his teeth am a-chatterin' an' he's so cold he done got goose flesh all
obcr.'
'"He git warm mighty quick whar we's a-gwine' 'sponded Angel Gabriel. Den a
great light broke upon me an' 1 say, 'I knows now why dem folks ain't in de good place.
Cullud folks jes nachelly loves a warm climate an' a hot fire. Likely as not dey thought
heb'n was kinder lonesome an' chilly, an' dey done heerd so much 'bout de big roarin'
fires in hell dat dey jes had a hankerin' to go dar. Dey could maginate how dev'd sit
aroun' de bonfires an' swap yarns an roast ches'nuts an' sweet 'taters, an' bake possums.'
Saint Peter an' Angel Gabriel stopped stone still an' dey say, 'You done struck
it, Preacher, you done hit de nail on de head. You go back an' tell dem folks what you
preaches to dat dere's been a change — Hell's froze over.' Den it got kinder dark an I
heard de wind a-whistlin', an' cold! Brederen and Sistern, you don't know what cold is!
A blizzard ain't nowhar! Snow an' ice an' frost can come pretty quick here in Alabama
when dey tries demselves, but nach'l cold ain't holdin' a candle to dat kind of cold. Time
aint nothin' neither; de good book say 'a thousan' years is as one day' — an' quicker dan I
can tell hit everything begun to freeze. My breath froze in front of my face; de snow
an' ice got thick an' thicker — Repent! Repent, Brederen an' Sisters, if you wants to keep
warm an' comfortable. Change yo' ways if you don' want to spend eternity a-shiverin'
an' a-shakin' an' de marrow in yo' bones afreezin'. Hell sure is froze over nowV
And Miss Penney declares that: "Notwithstanding the warm summer night the
impressionable congregation began to shiver. A big man from the back of the house
went shakily to the pulpit calling out, 'pray for me Preacher, for l's a-freezin' right now.'
Others took up the same cry and a wizened wrinkled little mulatto woman began to chant
and improvise:
'We's all a-chillin' an' a-chillin'
Good Lawd, don't be killin', don't be killin'.
Although the author does not relate that it was taken up and became the beginning of
a Spiritual, she gives us a fascinating glimpse of how some Spirituals were born. All
that was lacking was a "Ma" White or a "Singing" Johnson to take up the refrain. The
basic elements for their creation are still present in the deeper rural regions. One need
but visit them to be convinced. The elders still love to dwell on choice phrases; the
musical responses of the congregation are still a vital part of the service; the improvising
talent of the people is as remarkable as formerly; and troubles still walk the land.
In the New York Sun under date of October 24, 1928, there appeared the following
black headline: "NEGRO SPIRITUAL IS BORN IN HURRICANE"; and under it,
"Survivors Sing of God's Wrath in Storm. West Palm Beach, Fla. The files of the
American Red Cross, usually freighted with long lines of dry figures and other necessary
data on missions of mercy, also encompass a plaintive negro Spiritual .... Like Topsy and
like all genuine Spirituals, 'the chanting melody 'just growed' among the negroes around
the camp fires of the Lake Okechobee district where upward of 2,IXX) persons were killed
in the last month's hurricane."
Wf i. H. 1 '
>■ i*ur «• - ' ' (Rieaini
Two of the many spontaneously composed verses and the chorus follow:
"On the sixteenth of September
In the year nineteen and twenty-eight,
God started riding early,
And he rode till very late.
"He rode out on the ocean,
Chained the lightning to His wheel,
Stepped on the land at West Palm Beach
And the wicked hearts did yield.
Chorus
"In the storm, oh, in the storm,
Lord, somebody got drowned,
Got drowned, Lord,
In the storm."
An attempt was made to get t he melody by writing to the Miami branch of the Red
Cross, but the reply from that office regretted their inability to locate anyone who had
heard it sung.
Lieut. John J. Niles, in his book Singing Soldiers* recounts in the introduction that
he had about given up his hobby of collecting original war songs, because nearly all he
heard came from Broadway either directly or in part. That is, until by chance he heard
some Negro doughboys singing one day. In Mr. Niles' own words: "Usually among the
black troops there were a few semiprofessional musicians who did the music-hall stuff
as we sec it done nowadays in the black-and-tan cabarets and supper clubs. And then
there were the others, usually from rural districts, who, prompted by hunger, wounds,
homesickness, and the reaction to so many generations of suppression, sang the legend
of the black man to tunes and harmonies they made up as they went along — tunes and
harmonies ofttimes too subtle for my clumsy fingers and my improvised scon- paper.
At last I had discovered something original — a kind of folk-music, brought up to date
and adapted to the war situations — at the same time savoring of the haunting melodic
value found in the negro music I had known as a boy in Kentucky. In the early summer
of 1918 I gave up recording the songs of white boys and began to put myself out of I hi
to find a chance to come in contact with the negro soldier, who, as far as c, put
a little music into everything he did, be it marching, digging, cooking, traveling, unload-
ing ships, or any of the thousand and one jobs soldiers always have to do." As l.t.
Niles so aptly remarked to the writer, "Combine any old situation and a Negro soldier
and you had the makings of a new sung." He improvised about his crap games, Crap
Shooting Charity; a teamster sang a requiem to his bumped-off mule. Goodbye Jackasxl;
a colored grave digger improvised the Grave A>i££iV Blues as he worked. Seasick dough-
on a transport in the middle of the Atlantic got the Deep Sea Blues. A colored
ral on his death-cot feebly intoned a war-time Spiritual:
•Pulili'.hY-d l>\ Sinbncrv
"Don't close dose gates,
Cause I'se sure comin' in. . .
Peter take your Hand off the handle of that gate,
Cause I'se sure comin' in. . .
Jesus said he wouldn't min' if I was a little late
When he pardoned me my sin.
Don't close dose gates.
Cause I'se sure comin' in. . .
Some folks says that heaven is a white man's place,
But I'se sure comin' in. . .
Good book says it doesn't matter about the color of
your face,
So I'se sure comin' in.
Don't close dose gates,
Cause I'se sure comin' : n. . . .
Don't close dose gates
Cause . . . I'se . . . sure . . . comin
i »
But the song ended there. It is a beautiful thing— a child of the war— and it cost a
life to give it birth.
Another Spiritual born in France which Mr. Niles took down and recorded in his
interesting book is His A Burden Bearer, and another, Weepin' Days For Jesus, both
strikingly beautiful.
All this of course does not change the preceding statement that most Spirituals had
their birth in Southern slavery days, and that the creation of them is becoming increas-
ingly rare as the race advances in education.
Definition of the Spiritual leads naturally to a classification of types of religious-
Negro folk-songs, since the Spirituals are only a part of the whole body of Negro religious
music. It will simplify matters perhaps if we suggest a classification of Negro music in
general.
RELIGIOUS
1. Spirituals, a. Pure, of plaintive note.
b. Those which almost become jubilees.
2. Jubilees and Camp meeting songs.
3. Shout songs, ring shouts and boisterous types.
4. Hymns, taken from gospel song-books* and sung in negro fashion with some
changes.
5. Meter Songs, lined out by preacher and based on Wesleyan.
I long meter
short meter
common meter
•Dett refers to all negro religious songs as hymns. This is perfectly justifiable of course but confusing for purposes
of classification.
XI
6. Funeral songs and chants.
7. Semirelicious Folk-songs, quite obviously in fun, but with biblical context.
8. Composed Soncs, in the style of Spirituals by both Negro and white authors.
9. War-time Spirituals (as recorded by John J. Nilesl.
Many other songs are a combination of Spiritual and work song.
SECULAR
1. Plantation Melodies and Cabin Songs,
a. Love songs.
b. Lullabies and crooning songs.
(crap-shooting songs,
animal songs — possum, mules, etc.
watermelon, chicken songs, etc.
d. Slave songs- — lamentations — massa songs —
e. Cabin songs — songs of home and fireside
2. Work Songs and Street Cries.
I cotton picking,
pea picking,
corn shurking, etc.
b. Railroad songs — section gang.
c. Steamboat songs.
d. Chain gang and prison songs.
e. Street cries.
e
3. Blues — product of modern tunes— coincident with jazz.
4. Jazz.
5. Devil Songs— primitive— unprintable— a hangover from African influence.
6. Minstrel Songs— Practically all compositions— some burlesques of spirituals
and jubilees.
7. Composed Music— by both Negro and white authors on Negro life, e.g. the
Stephen Foster songs.
8. War Songs — recorded by Miles — <
fighting songs,
marching songs,
work songs.
play songs,
songs of home.
. blues, etc.
One sometimes finds a curious blending of Spiritual and work songs. (Niles re-
corded many of th«
The jubilees, viewed in the sense that they are fundamentally expressions of religious
r, are entitled to be called Spirituals, as Charlton contends. But if one prefers
to think of the Spiritual as a more subdued utterance, then the two groups should be
differentiated. For the purposes of classification at least, it is more convenient to dif-
ferentiate the two groups, and we have done so.
XII
-
If the reader wishes an excellent bibliography of literature on the subject of the
Spiritual he cannot do beliei than get William Arms Fisher's collection of Seventy Negro
Spirituals published by the Oliver Ditson Company, Boston. This volume also contains
a most excellent review of the literature on this subject, as well as interesting notes on
the various songs, some of which are very rare and to our knowledge never heard .so far.
Another invaluable discussion will be found in Johnson's book to which we have previously
referred.
It should be noted that some Negro religious songs fall under no distinct heading,
being mixtures of several types. For example, we find songs of jubilation in a distinctly
minor key. Some switch back and forth interchangeably between the two modes.
We find Spirituals having a pronounced "Charleston" rhythm. Some songs change
in rhythm, having, let us say, a quick tempo in the first half of the verse, then percepti-
bly slowing down, only to go into a distinctly different tempo in repeats.
C. W. Hyne.
WASNT THAT A MIGHTY DAY
(From the painting by Malvin Gray Johnson)
XIII
THE UTICA JUBILEE SINGERS
For more than twenty years groups of Utica Jubilee Singers have been going out
from the Utica Institute in the interest of education for Negro youth in Mississippi.
Names which have meant much in former organizations are Katherine G. McBride-
Holtzclaw, Albert J. Shoots, Foster G. Smith, Esther Hunt, Lewis A. Patterson, William
Harris, Edward L. Patterson and Charles R. Lawrence, Director of Music, who for many
years sang bass in these groups and will long be remembered for his singing of Honey and
Go Dozen, Moses.
The present organization has become the best known of all Utica groups through its
weekly broadcasts from W.J.Z. and W.E.A.F. over the National Broadcasting
Company networks. To the original four men who left the Institute in the summer
of 1926, Messrs. Clarence E. RatlifTc, Marshall H. Cole, tenors, and George Whittington
and William G. Culver, first and second bass, there have been added two other nun,
and a young lady. In the winter of 1926, when Mr. Ratliffc's health failed him for a
time, Mr. Ben R. Skinner was sent to join the group. The following summer Miss
Norma Lynch was invited to become a member. The most recent addition is Mr. Homer
Q. Smith, a Tenor.
■ ith M.in • \\ elcli, the mil)
icr
\i\
I
In December of 1926 the singers gave their first broadcast from W.E.A.F. So
great was the impression they made that they were invited to return and also to sing over
W.J.Z., the other National Boradcasting Company station. After two broadcasts
had been given, a contract was offered to the Institute for their services and accepted.
At the present writing the Jubilee Singers are entering upon their fourth season of broad-
casting and concert work under the management of the National Broadcasting and Con-
cert Bureau. It is estimated that they have a weekly air audience of over three million
persons. Upon the occasion of international hookups their voices have been sent half
way around the world, though it could never have been anticipated that the cry of the
slave translated into the spiritual, would carry beyond the confines of his narrow field
and echo around the world. The volume of "fan" mail received by the Utica Jubilee
Singers from their broadcast programs is regularly among the three largest features of
W.J.Z.
In 1927 they recorded a Vitaphone short picture, which proved to be an interesting
but strenuous experience.
To date, twenty songs have been recorded for Victor. Mr. Homer Q. Smith, who
became a member of the organization in May, 1929, has recorded two selections for
Columbia.
As an outgrowth of the European trip in 1927 a much more extensive tour has been
mapped out to begin January fourth, 1930. On the first trip concerts were given in
London, Bournemouth, Paris, Vichy, Berlin (2) Breslau (2), Frankfurt on Main (3),
Cologne, Baden-Baden, Copenhagen, Vienna and Budapest. Broadcasts were made
from London, Paris, Berlin, Brussels, Cologne and Frankfort. The present trip will
begin with London, thence to Holland for four concerts and from there on through
Germany for twenty, Vienna, Hungary, Prague and the Balkan states, one month, Po-
land and the Baltic States ten concerts, Russia (at the invitation of the Russian Govern-
ment) for two months giving thirty concerts, France and Spain three weeks, thence back
to England for some time, with a possible three months in Scandinavia and concerts iu
Italy. The route out of Europe will be via Greece, Turkey, Palestine and Egypt, giving
concerts in each, through British India and Burma, Java, Straights settlements, Manilla,
Australia, Japan, China and back to this country stopping at Honolulu for two concerts.
It is expected to consume sixteen months. Arrangements have been made for them to
sing before the royal families of six countries, and the Governmental heads of several
others. There will be broadcasting from each of these countries, and records are to be
made in four.
It is hoped that the Utica Jubilee Singers will be enabled to go on serving their race
and their school for many years to come. It is also earnestly hoped that their efforts
have been, and will continue to be instrumental in helping to pro "note a better under-
standing between the white and colored races in this country. It is reasonable to believe
that music can be effective in this regard when all other agencies may fail. As one critic
has written: "It is my ardent belief that nothing is contributing more toward the
proper feeling between the races than the service rendered by this sort of music."* Princi-
pal Holtzclaw once recounted to the writer how two white friends had once driven up to
the Institute wishing to hear some Spirituals. They brought with them a third man, a
stranger, who said very little. The two men sat well front and could not seem to get
enough of the singing. The third sat back, away from everyone, and gave no expression of
enjoyment. Very much to Mr. Holtzclaw's surprise therefore, after chapel had been dis-
missed, this same uncommunicative one came over to the Principal and took his hand in a
warm grip. He spoke with difficulty and considerable emotion. It seems that his father
•Mark Wood in the N. Y. Morning Telegraph -Nov. 9, 1929.
XV
had been killed in a Reconstruction fracas by Negroes, and lie had grown up with an in-
tense dislike for all members of the race, and, as he expressed it, even went out of his wav
to make things unpleasant for them, but silting through the service listening to the
singing of those Spirituals had somehow changed all that. He could not understand
why, but the hatred seemed to be gone and he felt different. And with a final handshake
and this final statement, "I am a changed man and 1 see that I was wrong," he was gone.
CLIMBING I I' THE MOUNTAIN
(From the painting hv Malvin (iray Johnson)
XVI
J
NOTES ON THE ILLUSTRATIONS
Richmond Barthe.
Mr. Barthe, a young Negro from Bay St. Louis, Mississippi, with a strain of Louisiana Creole in his veins,
was born January 8, 1901. As a boy he was given to moulding in the clay of his back yard. He modeled the head
of the Kaiser which brought him to the notice of Lyle Saxon, young Louisiana writer-art-critic, who encouraged
and helped the boy. One Sunday the priest asked for donations for a bazaar. Barthe, being unable to con-
tribute money, painted the head of Christ in agony. Father Kane was so impressed that he paid Richmond's
fare to Chicago and entered him in the Art Institute. He first came into public notice when he exhibited in the
Negro Art display in Chicago. His Head of a Tortured Negro, won him honorable mention in the recent Harmon
Foundation Arts exhibit. In addition to The Jubilee Singer reproduced on the cover of this volume, Mr. Barthe
has executed many other pieces including The Comedian, The Dancer, Paul Laurence Dunbar, Booker T. Washing-
ton and Toussant L'Ouverture.
Mr. Barthe's talent is not confined to sculptured pieces, for he has painted many excellent portraits.
Malvin Gray Johnson
The paintings reproduced in this voluble are the work of M. Gray Johnson, a young Negro painter, born
in Greensboro, N. C. Most of his life however has been spent in New York, for he left Greensboro when young.
His art training was secured at the National Academy of Design. Here he won many class prizes and sprang into
prominence with his pastel Swing Low Sweet Chariot, which was awarded the National Art Prize in 1928. In addition
to the paintings of Spirituals appearing in this volume, Climbing up the Mountain, Down by the Riverside, and
Wasn't that a Mighty Day, Mr. Johnson has recently completed another, a conception of / know The Lord has laid
His Hands on Me, which in the opinion of some is his finest work. Another painting is Deep River, and certainly
Water Boy should be mentioned, both excellent studies. A water color of much beauty and effectiveness is Spirit
of Peace.
XVII
INDEX BY TITLE
All God's chillun got wings
Angels walchin' over me.
De ill' Ark's a-movcrin' an' I'm goin' home
Don't you want to be a Lover of the Lord
Down by de Riverside
Do you call dat religion
Ezckiel
Ciood news! Chariot comin'. ......
(io tell it on de mountain
Hand me down ...
II umble yo'self
I lush, Hush
I couldn't hear nobody pray
I know dc Lord has laid His ban's oil me . .
I'm goin'to meet my Mother
I'm troubled, Lord
I t's me, U Lord
J ubalee
Keep a-inchin' along
King Jesus is a-lis'enin'
\1\ Lord's goin' t i move Jis wicked race.
Little David
Lord, I done what You lol' me to do
Nobod) knows dc trouble I see
Now let me Hv
0, \l.ir> , don't \ ou weep
t I. my good Lord
<) wasn't that a mighty day
Peter on the Se.i
Rise, shine
Run to my Lord
vaj to Jesus
Suing low, sweet chariot
Walk in Jerusalem jus' like John
\\ here shall I go
W itness for naj Lord
1 i-.niin' 'ii de I ' rj
j bettah mind
Page
1
4
6
11
16
20
24
30
35
37
43
47
53
57
60
65
66
70
72
76
80
83
86
88
91
94
98
102
106
108
113
116
118
124
128
131
144
147
ALL GOD'S CHILLUN GOT WINGS
Harmonies exactly as sung by
The Utica Jubilee Singers, Utica, Miss.
^^ u Allegro moderate)
Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
TENOR II
BASS I
BASS II
PIANO
P
f.
1 I got a robe, you got a robe,
2 I got a harp, you got a harp,
3 I got a wings, you got a wings,
4. I got a shoes, you got a shoes,
r iM r- fcp p f i
All o* God's chil-lun got a
All o' God's chil-luh got a
All o' God's chil-lun got a
All o' God's chil-lun got a
-
Allegro moderate
mt
(For rehearsal only)
All o' God's chil-lun got a
All o' God's chil-lun got a
All o' God's chil-lun got a
All o' God's chil-lun got a
<L
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^^
p r p p r im
E
robe;
harp;
wings;
shoes;
When I get to heab'n, goin' to put on
When I get to heab'n, goin' to take up
When I get to heab'n, goin' to put on
When I get to heab'n, goin' to put on
n !■ ;■ i J^
my robe, I'm goin' to
my harp, I'm goin' to
my wings, I'm goin' to
my shoes, I'm goin' to
£
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P P P P
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^^
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robe; When I get to heab'n, goin' to
harp; When I get to heab'n, goin' to
wings; .When I get to heab'n, goin' to
shoes; When I get to heab'n, goin' to
m
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put on
take up
put on
put on
my robe, I'm goin' to
my harp, I'm goin' to
my wings, I'm goin' to
my shoes, I'm goin' to
h K K K =A
N- K N N
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Copyright MCMXXX by Oliver Dit6on Company
Intern* .jnal Copyright Secured
76619-14*
shout all
play all
Fly all
walk all
o
o
o
o
vcr God's
ver God's
ver God's
ver God's
hcab-'n.
hcab-'n
hoab-'n
hcab-'n
Hcab.'n,.
Hcab-'n,.
Hcab-'n,.
Hcab-'n,.
hcab-'n,.
hcab-'n,.
hcab-'n,.
heab-'n,.
m
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shout all o - vcr God's hcab-'n..
play all o - vcr God's hcab-'n..
Fly all o - vcr God's hcab-'n_
walk all o - vcr God's hcab-'n..
Hcab-'n,
Hcab-'n,.
Hcab-'n,.
Hcab-'n,.
hcab-'n,.
hcab-'n,.
heab-'n,.
hcab-'n,.
ga
p r p t p r i j p~ r i P-3
■ 11 o - vcr God's hcab-'n Hcab-'n,.
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shout all
play all
Fly all
walk all
o - vcr God's
o - vcr God's
o - vcr God's
hcab-'n.
hcab-'n.
hcab-'n.
Hcab-'n,.
Hcab-'n,.
Hcab.'n,.
Hcab-'n,.
hcab-'n,.
heab-'n,.
hcab-'n,.
heab-'n,.
^
p r p p p r i J' JL.J J i p p' r r i J JJ
shout all o vcr God's heab-'n, Lord, Hcab-'n, Lord,
play all o - ver God's hcab-'n, Lord, Hcab-'n, Lord,
Fly all O - vcr God's hcab-'n, Lord, Hcab-'n, Lord,
walk all o - ver God's hcab-'n, Lord, Hcab-'n, Lord,
heab-'n,
hcab-'n,
.hcab-'n,
hcab-'n
Lord,
Lord,
Lord,
Lord,
Yy - bod - y talk - in' 'bout hcab'n ain' goin' dcre. Heab-'n,
\\ .'ry-bod. y talk - in* 'bout hcab'n ain' goin' dcrc. Heab-'n,
P^^
— * * 4 4 4 4
'ry-bod- y talk - in' 'bout hcab'n ain' goin' dcre. Hcab-'n,
Lord,
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I Repeat ad lib. 1 1 Last time
hcab-'n, Goin' shout all o - vcr God's hcab'n.
hcab-'n, Goin* play all o - vcr God's heab'n.
hcab-'n, Goin' fly all o - vcr God's heab'n.
hcab-'n, Goin' walk all o - ver God's
hcab'n.
Goin' to
hcab-'n, Goin' shout all o - ver God's heab-'n
hcab-'n, Goin' play all o - vcr God's heab-'n
heab-'n, Goin' fly all o - ver God's heab-'n
hcab-'n, Goin' walk all o - vcr God's
heab-'n..
Goin" to
heab-'n, Goin' shout all o - ver God's heab'n.
hcab-'n, Goin' play all o - vcr God's heab'n.
heab-'n, Goin' fly all o - vcr God's heab'n.
hcab-'n, Goin' walk all o - vcr God's
heab'n .
Goirr to
»
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hcab-'n, Goin' play all o - vcr God's heab'n.
heab-'n, Goin' fly all o - vcr God's heab'n.
heab-'n, Goin' walk all o ■ ver God's hcab'n. Goin to
1 Repeat ad lib. I \Last time
walk all o - vcr God's heab-'n, Goin' to walk all o - ver God's heab'n.
walk all o - ver God's heab-'n, Goin' to walk all o - ver God's heab'n
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walk all o - ver God's heab-'n, Goin' to walk all o - ver God's heab'n.
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f?\ lunga
76618-149
ANGELS WATCHIN' OVER ME
Harmonies exactly as sung by
The Utica Jubilee Singers, Utica, Miss.
Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
§£ 2nd tim
TENOR I
TENOR II
BASS I
BASS II
mm
PIANO
(All night, all day) An- gels watch- in' o - ver me, my Lord;
£
All night, all day, An -gels watch - in' o - ver me, my Lord;
2nd time
'All night, all day) An-gels watch- in" o - ver me, my Lord;
2nd time
T
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All night, all day An - gels watch - in' o - vei
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Now I lay me down to 9leep, An-gels watch-in' o-ver me, my - Lord, I
If I should die be - fore I wake, An-gels watch- in' o-ver me, my Lord, I
m
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An-gels watch -in' o-ver me.
pray de Lord my soul to keep, An - gels watch - in' o - ver me.
pray de Lord my soul to take An-gels watch- in' o-ver me.
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An - gels watch - in' o - ver me.
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An- gels watch- in' o - ver me.
7Mtt-t«a
6
DE OL' ARK'S A-MOVERIN' AN' I'M GOIN' HOME
Harmonies exactly as sung by
Th'. Utica Jubilee Singers, Utica, Miss.
Allegro moderato
Negro Spiritual
Taken down by J.ROSAMOND JOHNSON
TENOR I
TENOR II
BASS I
BASS II
lEiWri t I I
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mo - ver - in', mo - ver - in', de ol' Ark's a - mo - ver - in' an'
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m goin' home. (l)See dat sis - ter dressed so fine? She
(2) See dat broth - er dressed so gay? 01'
(3) See dat sin - nah com- in' so slow? She
(4)Tain' but one thing on - a my mind. My
£^£
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I'm goin' home.
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aint - a got Jo - sua
deaths. - a gwine-ter come for to
wants to get to heab'n fo' do
moth - er's gone to heab'n an'
on - a her mind,
car - ry him a - way.
heab-'n door close,
lef - a me be - hind.
g
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mo - ver - in,
mo - vcr - in', do
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A - mo - ver - in',
A - mo - ver - in',
mo - ver - in', mo - ver - in", dc
rao - vcr - in', mo - vur - in', de
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ol' Ark's a - mo-ver- in' an' I'm goi^ home. Dc ol' Ark she reel, De
ol' Ark's a - mo-ver- in' an'
I'm goin' home. Do ol' Ark she reel, Dt
ol' Ark's a - mo-ver - in' an' I'm goin" home. De ol' Ark she reel, De
P
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ol' Ark's a - mo-vcr - in' an' I'm goin' home. Dc ol' Ark she reel, De
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ol' Ark sho rock, De ol' Ark she land-ed on de moun -tain top. O, dc
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7S61»-l«t
10
ol' Ark's a - mo - ver - in, mo - ver - in,
ol' Ark's a - mo - ver - in', mo - ver - in',
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oV Ark's a - mo - ver - in', mo - ver - in', mo - ver - in',
de
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Repeat ad lib.
I Last time
F r F \ i t r^r-y
F?
p
ol' Ark's a - mo - ver - in' an' I'm goin' home.
I'm goin' home.
ol' Ark's a - mo- ver- in' an' I'm goin' honn
W FT F M M I r r f ■!
I'm goin' home.
m a
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ol' Ark's a - mo - ver - in' an' I'm goin' home.
I'm goin' home.
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I Repeat ad lib. I Last time ^
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mm
76619 -IV. I
DON'T YOU WANT TO BE A LOVER OF THE LORD "
Harmonies exactly as sung by
The Utica Jubilee Singers, Utica, Miss.
<^(with lively spirit)
Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
/
TENOR I
TENOR II
BASS I
BASS II
PIANO
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of the Lord,
of the
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Don't you want to be a lov-er of the Lord,
PP
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(For rehearsal only)
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Lord,
of the Lord,
Don't you
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Run-nin' from the dev - il, don't you
is
* *
7i«19-l»»
12
want to be a lov - er of the Lord,
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want to be God's 'so - ci - ate,
Crown him in God's king - dom, Don't you
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want to go to heav - en when you die?
die?
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want to go to heav- en when you die? Don't you
die? 1 'Tis
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want to go to heav - en when you die?
die?
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want to go to heav - en when you die?
die?
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76618- 149
11
'-**
A little slower
m
m^z
pp
^
f^y=y
Jt- - sus Christ I
Sig - nal shall I
long to find, pray
tell him by, from
tell me where he
an - y oth - er
is, He's the
man, He
tfc
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sig - nal shall I
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tell him by, from
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an - y oth - er
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man, He
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i
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pp
pp
£.s. §<
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on - ly one can
wears Sal-va - tion
heal my mind and
on his brow and
give my con - science ease,
in his arms a lamb.
Jfc
E
^
m
gg
m
r '^- f
on - ly one can
wears Sal - va - tion
heal my mind and
on his brow and
give my con - science ease,
in his arms a lamb. Don't you
m
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Hm.
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76619- 148
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p r p p p p p r
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Want to be • a lov - er of the Lord,
Jrifc
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m
want to be a lov - er of the Lord,
P P ff P P
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a
Want to be a lov - er of the Lord,
s
of the
im
of the
^^
of the
Lord,
•2?
<* ■
L( rd,
of the Lord,
of the Lord,
Don't you
Don't you
I I I 1 I' I I P I' I 1 I 1 |l |l |l | |i
b--lls a - toll - in'.
Run-nin' from — th- dev - il, Don't you
7«61it-r.i
15
F; 5 * .h j> J' |
1
&
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a- p f ' p *' p *• p p i r
wrtnt to be a lov - er of the Lord,
Don't you
s
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want to be a lov - er of the Lord,
Don't you
*« F »B P F P F P P
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want to be a lov - er of the Lord,
Don't you
vi J' J' J'
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want to be God's 'so - ci - ate, Crown him in God's king-dom, Don't you
J J J J J J J J
m
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P
die?
want to go to heav - en when you
B" J> i J' J» J' J' p
£
m
want to go to heav - en when you
- |: ' P f P P P P ^
die?
^
want to go to heav - en when you
die?
V P P P — P P F P P 1^
want to go to heav - en when you
i »J i
die?
^f-r— —t
77
76819-1*9
16
DOWN BY DE RIVERSIDE
AIN'T GOIN' STUDY WAR NO MORE
Harmonics exactly as sung by
The Uticajubilfc Singers, Utica, Miss.
Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
TENOR I
TENOR II
BASS I
BASS II
fB'it y\
P^jPi
Down by de
I B*i r J' l| : r
i i r ir ^
£
l.Goin' to lay down my bur den
2. talk with de Prince of Peace
3. meet my King Je - sus-
4. lay down my sword an' shield
Down by de
?-*! ) T I
l "4 > tJ
PIANO
1
Down by de
^m
Down by de
riv - er- side, Down by de riv - er - side, Down by de
r r tJ' j. i i i ..I
e^
riv- .-r - side, Down by
32
5E
riv - er- side, Down by de
ri\ • er- side, Down by de riv- er - 6ide, Down by de
riv- rr - side, Down by de riv- er - -ide, Down by de
7BB14-14I
17
fe
^
J I
H
riv- er- side,
Down by de
mm
3E
£
pSlp
P^P
^
£
riv- er- side, Goin' to
lay down my bur - den
talk with de Prince of Peace
I meet my King Je - sus —
lay down my sword an' shield
Down by de
93Sg5f
1
* riv- er- side,
V- t h N
Down by de
Z3I
^m
■0 « —
riv- er- side,
m
mm
Down by de
£
^
f
S
■ — r.
m
* — * — &
/■
&£=
m
T2Z.
m •
V "pf
^
r r
riv- er- side to stud-y_
war no
more. I ain't goin'
W^H$
5^3
m
pm
*=*
^=*
« »
riv- er- side to stud - y.
war no
more. I ain't goin'
•>■■* r< p r r i pe'
e r r ir r f g
riv- er-side to stud-y_
war no
more. I ain't goin'
-£- f—
i
p p r T ^
« — #
* — #
riv- er-side to stud- y.
war no
more. I ain't goin'
mm
mi
K
<S <
^
I
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51:
^
PP
HHH
^
76619- 14*
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stud-y war no more, Ain't goin' stud-y war no more, Ain't goin'
«*
is" ip r- r r^Ep^
stud - y war no
more,
stud-y war no more, Ain't goin'
76619-149
.
ICifc
i
p r r
more, Ain't goin' stud- y war no more, Ain't goin' stud- y.
19
r rHj
B'l' J J
I
p r r f i ^
^S
more, Ain't goin' stud- y war no more, Ain't goin' stud - y
more, Ain't goin' stud - y war no more, Ain't goin' stud-y.
more,
stud-y war no more, Ain't goin' stud-y.
">-4 :l J ^
mm
^
htz
war no
war no
Repeat for Vtrses ad lib.
D. S.
Last time
rs
Goin' to
3H
war no
war no
'i f 1 p '' f : LI_^=^f
more. .
more.
f ' r r n
more.
h ■> i
m
more.
^
^N
^^
Repeat for Verses act lib
f
D. S.
Lns< <i»ir
76tit'j-m
t
20
DO YOU CALL DAT RELIGION
Harmonics exactly as sung by
Thi Ltica Jubilte Singers, L'tica, Miss.
Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
TENOR I
TENOR II
BASS I
BASS II
fe^
No. co,
PIANO
w-^4 r f j ' Pr \ r f~r
NJmJ Jn h
£
Do you call dat re-li-gion? No, no,_ Do you call dat rc-li-gion?
S^^
^
No, no,.
O,
Sg£^
f^ff
3E
No, no,_
(?/i Chorus after last verse £ass to sing Yes, yes.
(Fo r rehearsal only )
^m
s
So, no,
No, r.",.
§>■ ' ' I ,h.J J'J' l f ^
So, no Do you call dal ro-li.gion? No, no Do you call dat ro-li-gion?
no, no,.
No, no.
O.
you call dat re- li -eion?
P^nrrt
j n J' j
78619-M9
Ite^
#^
No, no, no, no, no, no, no, no,_ no, no, no.
No, no, no, no, no,_ no, no, no, — no, no, no..
^
■ m
W=W-
i
PS
no, no, no, no, no,_ no, no, no, — no, no, no..
^
^^
^
i
iN
-*-.■
No, no, no, no, no, — no, no, no,_ no, no, no.
3E
m
Q, Fine
Slower
Hm
Hm
Come on my dear_ stew - art,
Come on my dear — dea - con,
Come on my dear — preach - er,
m m
^^
s
Tell me if you can, Will you
Tell mc if you can, Will you
Tell mo if you can, Will you
////,
Hn
Slower
i h tr r
m
r—f
is:
^
j- n j
TT
3:
7661S-14*
22
ftp*
S
r pr r
tell me, my_ dear stew- art, If you're bound for de prom-ised Land? I
tell me,' my dear dea - con, If you're bound for de prom-iscd Land? 1
tell me, my— dear preach- er, If you're bound for de prom-iscd Lano> I
Hn
Hm
m
s
Quasi Rtcit. ad lib. t&vtrsi Tenor II, 2>l d vtrsf Bass I, 3T*vtrst Buss II
know I've got re - li - gion, An' I
know I've got re - li - gion, Goin' to
know I've got re - li - gion, Knows dat
know my ^oul is right , But
have it when I die, Kbt
I was call'd lo teach, And
Quasi Ffi >t
7">M:<-if>
23
11*
some-times ol' Sa-tan gets a-roun'me,
some-times ol' Sa-tan gets a.roun' me,
it ain't none o' yo' bus'-ness what I
An' ho tries to make mc back - bite,
An' he will make mo lie,
do, You prac - tice what I preach,
s
^^>
^m
f^f?
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m
s_
D.S.al Fine
ssar
m
mm
m
w^
£
P
And I back - bite, bite, bile on.
And I jes' lie, lie, lie on.
And I preach that, that, that, to.
ev - 'ry - bod
ev - 'ry - bod
cv - 'ry - bod
y-
y-
y-
Do you
Do you
Do you
m
Be
\
D.S.al Fii
m
f
m
76«l9-lt»
24
Harmonies exactly as sung- by
Th< I'tica Jubilee Singers, L'tica, Miss.
EZEKIEL
Negro Spiritual
Takon down by J. ROSAMOND JOHNSON
TENOR I
TENOR II
BASS I
BASS II
PIANO
$£ 2nd time
.<-H 4na um<
Ze-kiel saw de wheel Way up in de mid-die of de air, E -
MM J |:JlJ'. J'- Jl|- If p JJ'p B pp J'
E - 2.e-kiel saw de wheel Way up in de mid-ale of de air,
^
E ze-kiel saw de wheel Wav ud in de mid-die of de air, '.
2nd time
$ i ■ jy J> J
Ze-kiel saw de wheel Way up in de mid-die of de air, E
2nd time
■■hi- it I FJt^ ^ees
J' Ji Ji Ji Ji J Jl ^
•
Ze-kicl saw de wheel Way up in de mid-die of de air, E
=M>
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ai
I 'Jl: £1
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/u/ - rehearsal only)
iwn
1Z7T3
a — ■
PP
[fc^ f H' P
p F P P F H r F
2e-kiel Saw de wheel
fH-MJ J>. Ji a
p
Way in de mid-die of de air. De
MMMf
ze-kiel saw de wheel
?# i f ±? ■ r^r
Way in de mid-die of de air. De
y I P M F F ^
ze-kiel saw d>- wheel
Way in de mid-die of de air. Df
?# J J\ J. J p p p p -t-tr-f fff B
t-r
Zf-ki-1 saw de wheel a - turn- in' Way in de mid-die of de air. De
fcfc
H
W*
a
P^
J
^# C CI CI C f r r
^^
7061J-I4S
25
B^p p P P
big wheel run by faith, An' de lit- tie wheel run by de grace of God, O,
big wheel run by faith, An' de lit- tie wheel run by de grace of God, O,
?#P P f t
£
big wheel run by faith, An' de lit- tie wheel run by de grace of God, O,
y^j, j* j> j. ji j^ji J' p I p p p p p p p ^EB
big wheel run by faith, An' de lit- tie wheel run by de grace of God, O,
j | V i j nun
mm
f
m
m rn ri j~i
B=K
■=b=k
#——#——
wheel in a wheel,
wheel in a wheel,
wheel in a wheel,
;*w J j J', p p p p i p p p |? p
Way in de mid -die of de air.
Way in de mid-die of de air. E
Way in de mid -die of de air.
Jl J l J' j 1
E
wheel in a wheel, a - turn - in', Way in de mid-die of de air, O, yes, E
7M1D-MV
26
l ij^ fi p- r p
zzz
r r ; p m p p p F
Zr-kiel saw de wheel Way up in de mid -die of de air, E -
l i M J J*. Jv J r i r p J J p p p p J 1- i
ze - kiel saw de wheel Way up in de mid- die of de air, E
•-• •+
I
P M ? jl j l fl P %
¥=¥
Hr-f!
Zr-kiel saw de wheel Way up in de mid -die of de air, E
%^N*
J J' J\ Ji j j j ji j* Ji
f
ze-kiel saw de whirl Way up in de mid-die of de air, E — -
P'tfl: j~p
£
pw
u ■
" v- :
■ • *
ze -kiel saw de wheel
Some
Way in de mid-die of de air. Be -
Now
jl P |M J ^
ze-kie] saw de wheel a - turn- in' Way in de mid-die of de air.
leem-ui
27
p p p p p f? p r =
Way in de mid-die of de air,
Way in de mid-die of de air,.
p fi (i m n ii r ^ Ei
Be -
folks go to church for to sing and shout
fo' six months dry's back a - gain Way in de mid-die of de air, Dey a
what can de good church folks do then (J Y
rrrrm
Way in de mid-die of de air,-
D.S.
Way in de mid-die of de air.
E^-^
■ i'i 1 i* 7 i i 1
P FPU P H -
Way in de mid-die of de air.
1
fo' six months dey's done turn'd out
ask -in' de church folks to take dem in- Way in de mid-die of de air. 0, yes, E-
can't do noth - in' but take dem in — ,
P-H P H' i' J' *
Way in de mid-die of de air. O, yes, E
D. S.
7&S1»- 1 .'J
28
f [J g F E P P P P I
Ze-kiel saw d-- wheel Way up in de mid- die of de air, E
Ze - kiel saw de wheel Way up in de mid- die of de air, E
V V i
r ppm
MMM
kiel saw de wheel Way up in de mid- die of de air, E
J'. Ji Ji Jr^rJi ]> J> II
ze - kiel saw de wheel Way up in de mid-die of de air,
I Last timi
iy#.
■ ' ■- • w
ze-kn 1 saw de wheel
• kiel saw de wrui 1
m..m pti
-kiel saw de wh< '1
Way in de mid -die of de air. De
Way in de mid-die of de air. De
P BUM P p =F^
Way in de mid-die of de air. De
le-kiel saw de wheel a- turn- in' Way in de mid-die of de air. De
7MK-1M
29
fr^' 1> I' I' I' | |l '' '' I [I P |l |! '' '' |" [ | E ^^
big wheel run by fallh,— An' de lit- tie wheel run by de grace of God, O,
big wheel run by faith, _ An' de lit -tie wheel run by de grace of God, O,
£
»n m tu
jig wheel run by faith, _ An' de lit- tie wheel run by de grace of God, O,
" i v j' i' i< /■ '_■ ii *if r |i i f |i |i i^
big wheel run by faith, _ An' de lit- tie wheel run by de grace of God, O,
gp
P P
f
m
J]H i i
p — p
• p
Slow
molto rail
k^ r ff ^
con espressiont
wheel in a wheel,
■molto rail.
R F F b F P rr r^ i
Way in de mid- die of de air.
con esprcssione /^\
wheel in a wheel
molto rail.
Way in de mid-die of de air.
con rspressione
^^2l_ C\
wheel in a wheel,
molto rail
SLJ J" JU^^
Way in de mid-die of de air..
con espressione ^
Way in de mid- die of de air.
76&19-14B
30
GOOD NEWS! CHARrOT COMIN'
Harmonics exactly as swig by Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
7 Ac Vtica Jubiln Singes, Utica, Miss.
TENOR I
TENOR II
HASS I
BASS II
l i i^'Hi 1 1 r r Ml^
Good news! Char
PP
ot s com - in.
Bi-Vir I
PIANO
Good
p" f f n J' J' ^
Char - 1 - ot's a - com - in', Good
■nSHi h r r p
Good news! Char
r
^=e
£
Hip
Good news! Ch.tr
pi£
i - ot's com - in',
H
i - ot's com - in',
y.
V-
p i r ft p -r i > i
Good
ei^
r 7
i - Ot's i om - in',
Good news! Chai-
•i , .■ "
~n~
- i - ot's i - com - in', Good news!
1
in ,
fiood news! Char-
76619-149
31
rr
te P' ^ r p p I 1 I 1 | !■ i 1 l' I' I i 1 ' i' \-" — -l
i^> p- p p- i r Jt »■ '■ ' i p p piip-nri
i - ol's com - in', an' I don't want it to leave me be - hind.
1
i - ot's com -in', an' I don't want it to leave me be - hind.
'w r' p r J' ■■'' Jl Jl i r r r r r r r '^^
me
i - ol's com - in', an' I don't want it to leave me be - hind
Ml
r
'>^> ^ p
a» a>
« — #
3^
« at
m
\i.
• F tJF
±=*
3E
hind.
&''!> J ^ J
/oco a poco accel.
Uere's a
Dcre's de
Dere's a
rr
^ hJ' J'
^
Dere's a long white robe in dc heab - 'n I kno', Dere's a
hind Dere's de gold - en slip-pers in de heab - 'n I kno', Dere's de
Dcre's a milk and hon-ey in dc heab - 'n I kno', Dere's a
poco a poco accel.
im
r> _
-xr
TT
^
hind..
poco a poco accel.
^
Dere's a
Dere's de
Dere's a
5=
"
} *».
hind.
Extra verses
Dcre's de pearly gates in dc heab'n I kno' —
s a starry crown in de heab'n 1 kno' —
j Dcre':
I Dcre':
* »
Dcre's a
Dcre's de
Dcre's a
76619-149
long white robe in de heab-'i
gold- en slip-pers in de heab-'n
milk and hon-ey in de heab-'n
r> r\ r\
I
I
I
kno', Dutch a
kno', Dere's de
kno', Dere's a
long white robe in de
gold - en slip pers in de
milk and hon-ey in de
/^> r\ <TN
long white robe in de heab-'n
gold- en slip-pers in de heab-'n
milk and hon-ey in de heab-'n
r\ r\ *} o
i
i
i
kno', D>r>'s a
kno', Here's de
kno', Dere's a
ii 1 ■ ; „ n ■ i
long whiti- robe in de
gold - en slip-pers in de
milk and hon-ey in de
om
long; whit>- robe
g'lld - en -lip-per
milk and hon-ey
in
in
in
de
de
de
heab-'n
heab-'n
heab-'n
i
i
i
i
kno', Dere's a
kno', Dere's de
kno", Dere's a
long whit-- r
••n ~lip-prrs
milk and hon-i-y
«-"f-f-t-H
ii
m
long white rube in
gold - en slippers in
milk and hon-ey in
de
de
de
de
de
de
heab-'n
hi .<b -'n
heab - n
kno', Dere's a
kno', Dere's d--
kno', Dere's .1
f=f
long white robe
gold - en slip p.-rs in
milk and hon - ey in
fy r> O
de
de
de
78(!19-l'.i
33
Jk
s w p p r r " p ' ff ff p F r p p
D.S.
heab- 'n I kno', An' I
heab - 'n I kno', An' I
heab - 'n I kno', An' I
don't want it to leave me be - hind,
don't want it to leave me be - hind,
don't want it to leave me be - hind.
^
heab - 'n I kno', An' I
heab - 'n I kno 1 , An' I
heab-'n I kno', An' I
don't want it
don't want it
don't want it
to leave me be
to leave me be
to leave me be
hind,
hind,
hind.
P P I P P JLi
i
Good
m
~CT~
¥ T f- f
heab - 'n
heab - "n
heab - 'n
kno', An' I
kno', An' I
kno', An' I
don't want it
don't want it
don't want it
to leave me
to leave me
to leave me
be
be
be
hind,
hind,
hind.
s
heab - 'n
heab - 'n
heab - 'n
kno', An' I
kno', An' I
kno', An' I
don't want it
don't want it
don't want it
to leave me be
to leave me be
to leave me be
hind,
hind,
hind.
r\ r\
&
1 1 j j. n
; j ■ =^«=a=E [ > « | J
D.S.
3^±
/T\
<m n f i~^
^
T1-
c
~n~
I Special Chorus: Last time only
j Slow
Good
Char -
- iot':
com - in,
news!
Char - i - ot's a - com - in', Good
w > r
m
£
Good news! Char -
lot's
com - in,
te>
Good newsl Char -
I Special Chorus: Last time only
Slow
iot's
com - in.
3
^=3=^
3E
f
t — r
-p^^r
T
^B
w
7 r
Mi
m
76613-1U
)> i f r
^^
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J*
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76Bia-ii'«
GO TELL IT ON DE MOUNTAIN
35
Harmonies exactly as sung by
Thr Utira Jubilee Singirs, Utica, Miss.
TENOR I
Negro Spiritual
T.iken down by J. ROSAMOND JOHNSON
TENOR II
BASS I
BASS II
PIANO
Go tell it on de moun - tain, O - ver the hills an'
m
«
jri t
(For rehearsal oniy)
f
~9 ♦ y
ev - ry
ev - 'ry- where. Go tell it on de moun- tain Dat Je-sus Christ is
•r$ r~> r t
m
Fine
ry- where. Go tell it on de moun- tain Dat Je-sus Christ is born.
born.
ev - 'ry-where. Go tell it on de moun- tain Dat Je-sus Christ is born.
m
^
E*F?F^
p r i " r
« — *
ev - 'ry-where. Go tell it on de moun- tain Dat Je-sus Christ is
born.
Fine
78619- 149
36
M
m
■» —
^
m
When I was a seek - er, I sought both night and day; I
m
m
t
'
^
#
m
fe'
D.^al Fine
1
r r r r r I r r J i J
^
! do Lord to h<lp me, And hr show'd me de way..
•>iJ
m
^^
^
^
j
Se
D.S. o/ FiHf
mi H-
HAND ME DOWN
:i7
Harmonies exactly as sung by
The Utica Jubilee Singers, Uttca, Miss.
TENOR I
TENOR II
DASS I
BASS II
Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
PIANO
Hand me down,
hand me down.
O, hand me down,
hand me down,
Hand me down,
hand me down,
hand me down,
Hand me down yo' sil - ver trum-pet, Ga - briel,
p p r '
Hand me down,
Hand me down yo' sil- ver trum-pet, Ga - briel, Hand me down,
Hand me down yo' sil - ver trum-pet, Ga - briel,
£
Hand me down yo' sil- ver trum-pet, Ga - briel,
Hand me down,
-J-JuL
Hand me down.
L.JT
^F
7f.»1»-li..
38
I
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F F f ' P P P P P F ^^
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tci dresb'd so fi
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39
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WHllorn H. Koiteclaw Library
Ulioa Ju»l«r CoM«ge
Utica, MS 39175
W
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,
41
hand me down,
Hand me down yo' sil - ver trum - pet,
li-
plank - a - plank, Hand me down yo' sil - ver trum - pet,
Zum - zmn,_ Hand me down yo' sil - ver trum - pet,
I I M { i I I I '
Lcrd.
Hand im down, throw it down, An - y way you get it down,
j '■ , ! ■ I I J 1 ■!> J' J' 1' i
Lord. 0, hand mc down, throw it down, An - y way you get it down,
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you g.t it down, Hand me down yo' si]
An- v w.t
y way you gel it down, Hand mo down yo* sil -vcr trum-pct, Lord.
7KM>.};,
HUMBLE YO'SELF
43
Harmonies exactly as sung by
The Utka Jubilee Singers, Utica, Miss.
2nd time
Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
TENOR I
TENOR II
BASS I
MASS II
EL'it J '.i J | ' > J . ^
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Huui-ble, hum- bit, hum-ble yo' - self._ Goin' to live hum-blo .to the
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p
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2nd timr
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Goin' to live hum-ble to the
ff-ff-f MH^
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2nd time
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PIANO
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Goin' to live hum-ble to the Lord.
hum-ble
to live hum-ble to the Lord.
VKf.ia- liD
HUSH, HUSH
47
Harmonies exactly as sung by
The Ulicajubilet Singers, Utica, Miss
Negro Spiritual
Taken down by J.ROSAMOND JOHNSON
TENOR I
TENOR II
BASS I
2nd ti
BASS
(Hush,)
(hush,)
Some-bod- y call - in' my
gfrW=2=f
O, Hush,
/7\ 2nd Unit
hush
^=
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(Hush,)
2nd time
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(hush, I
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Some-bod- y call - in' my
PIANO
name
name.
P
Hush
hush,
P P P P ■' I
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my
Hush,
hush.
Some-bod-y call - in'
my
Hush,
F= ^ =5 F 7^ = ff^ ^^^
name, Hal- le-lu - jah, Hush,
hush,
hush.
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my
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76619-1411
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name, In de King-dom, Hush,
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name. 0, my Lord, O, my Lord, what shall I
name. O, my Lord, O, my Lord, what -.hall I
name. O, my Lord, O, my Lord, what shall I
^^
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do?
name. 0, my Lord, O, my Lord- y, what shall I do? O,
do?
do?
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78819-U*
49
ways,
time,
ways,
time,
it ft J I
I' m S o glad dat trou-ble don't las' al -
I'm so_ glad dat I got my re-li-gion in
I'm so glad dat trou-ble don't las' al -
I'm so glad dat I got my re-li-gion in
r 1 ^ f t r'p 1 =
I'm so glad dat trou-ble don't las' al
I'm so glad dat I got my re-li-gion in
t p- r
ways, Hal- le-lu- jah, I'm
time, Hal - le-lu - jah, I'm
so
so
glad dat trou-ble don't las' al -
glad dat I got my re-li-gion in
Extra Verse II : Early one mornin' death come knockin' at my do' :ll
O, my Lord— O, my Lord what shall I do.
?e«i9-m
50
id
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way;
I'm
I'm
so
SO__
glad
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dat
dat I
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trou-ble don't las' al -
got my re-li-gion in
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time,
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I'm
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got my rc-li-gion in
m
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ways, In deKing-dom, I'm so glad
time, In de King-dom, I'm so glad
t- r - mm
dat trou-ble don't las' al -
dat I got my re-li-gion in
ways. O, my Lord, O, my Lord, what shall
time. O, my Lord, O, my Lord, what shall
ways. 0, my Lord, 0, my Lord - y, what shall
time. 0, my Lord, O, my Lord - y. what shall
^
ways,
lull'-.
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0, my
O, my
O, my
Lord,
Lord,
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O, my
Lord,
Lord,
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what
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shall
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76(19-119
I COULDN'T HEAR NOBODY PRAY
53
Harmonics exactly as sung by
The Utica Jubilee Singers, Utica, Miss.
Espressivo (with steady suing)
j i 2nd time
Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
TENOR I
TENOR II
BASS I
BASS II
BS
PIANO
tffir <• i v j
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Could- n't hear no- bod - y,
i
O, Lord.
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An' I could- n't hear no - bod - y pray.
2nd time
An' I
m<' t -^l-. p g r " g r Mr r ^
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m <' i v II
O, Lord, I
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Espressivo (with steady swing)
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could-n't hear no-bod- y pray. Oh, way down yon- der by my- self, An' I
m^
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could-n't hear no-bod- y pray. Oh, way down yon- der by my- self, I
-^v-^Hi^Hr , i rr rrif r JJ
could-n't hear no-bod- y pray. Oh,
h I s
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pray.
couldn't hear no-bod- y pray. O, Lord, I pray. In de val - ley..
couldn't hear no -bod- y pray.
couldn't hear no -bod - y pray,
pray.
fc | .\ ||, p <i J jEgS^
Couldn't hear no -bod - y pray.
^
Couldn't hear, no- bod - y
p J J J
On my knees.
In de Jor - dan.
Trou-bles o - ver
Couldn't hear no-bod- y pray.
Couldn't hear no -bod - y
7A«la- wt
55
pray.
Couldn't hear no -bod - y pray.
With my bur - den_
Cross - in' o - ver_
In dc King- dom .
An' my Sa - viour,
In - to Ca - naan,
Wid my Je - »us,__
■M .Hj
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pray.
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m
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p p r p r ^
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pray. O, Lord, I could -n't hear no-bod - y pray. Oh, way down yon- der
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pray.
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pray.
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by my - self, I couldn't hear no-bod- y pray.
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pray.
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by Qiy - self, 1 couldn't hear no-bod- y pray.
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pray.
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76619- M»
I KNOW DE LORD HAS LAID HIS HAN'S ON ME
S"i
Harmonics exactly as sung by
Tin Vtica Jubilee Singers, Utica, Miss.
Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
TENOR I
TENOR II
BASS I
BASS II
PIANO
jfel» » ?
mrf
g^^f
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m
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^
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I know de Lord,
« ■»■
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£=£
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J J J' J j
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£
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I know de Lord has laid his han's • on me.
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I know de Lord has laid his han's on me. O, I know de Lord,
m
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I know de Lord,
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I know de Lord,
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5
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fr J J NJ
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^j^jrjd
ev - er you see de like be - fo'?
on - a my knees when de light pass by I know de Lord has laid his
Lord — has done jus' what he said,_
I know de Lord has laid his
v ,19- US
59
han's on me
g
^
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p
King Je - sus preach - in'
han's on me. I tho't my soul would
He heal'd de sick an'
to de
rise an'
raised de
k h r r
po'
fly,-
dead,.
han's on me.
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han's on me.
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han's on ' me.
I know de Lord has laid his han's on me.
i IS iJJJi
han's on me.
wm
D.S
Last time ^
m
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60
I'M GOIN' TO MEET MY MOTHER
Harmonies exactly as sung by
The Utica Jubilee Singers, Utica,Miss.
Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
TENOR I
TENOR II
BASS I
BASS II
v , Very slow
fcW- H I I :
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W i i I
PIANO
TT
day,
8&fe£
I'm goin' to meet my moth-er Some
day,
3E
Some
day,
»
W-i-t-l
p
3£
Some, some, some,some da)',
Very slow
(for rehearsal only)
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7fi«1»-l'i9
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I'M TROUBLED, LORD
65
Harmonics exactly as sung by
The Utica Jubilee Si>tg< n., Utica, Mas.
Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
TENOR I
TENOR II
BASS I
BASS II
^4
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PIANO
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2. Trou-bled a -bout my
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E.etm Verses— 3. I'm troubled about my sister
4. I'm troubled about my mother
5. I'm troubled about my brother
(i. I'm troubled about my deacon
7. I'm troubled about de elder
8. I'm troubled about de gambler
9. I'm troubled about hi a soul —
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66
Harmonics exactly as sung by
The I'tica Jubilee Singers, Utica, Miss.
TENOR I
IT'S ME, O LORD
Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
TENOR II
BASS I
BASS II
PIANO
It's me, it's me, O Lord, Stand-in' in de need o'
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70
Harmonies exactly as sung by
The Utica Jubilee Singers, Utica, Miss.
TENOR I
JUBALEE
Negro Spiritual
Taken down by J.ROSAMOND JOHNSON
TENOR II
BASS I
BASS II
ju-ba-1 Ju-ba-1, O, Lord, Ju-ba- lee, |^f.{* .g^g* Ju-ba-lee.
Ju-ba- !• Jut O, Lord, Ju-ba- lee.
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1. Sis-ters an' broth - ers, won't you jine in?
2. What is de mat - tah, de church won't move?
.'<.What is de mat - tah wid de mourn - er? '"
4. Sis-ters an' broth - ers, let's shout to - night,
Lord - y,
O, Lord, Ju-ba - lee._
m
O, Lord, Ju-ba - lee._
he-p us dis__ Ju - ba - lee to sing.
some- bod-y here_ been tel-lin' bad news.
deb-bil's in de a - men cor- - ner. > Lord i Ju-ba - lee
fo' you_ shout you bet-tah git right.
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70619.14W
KEEP A-INCHIN' ALONG
Harm, ni< s exactly as sung by Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
2i;d time
Th I r ..J : . ! i/i c Singt rs, Vtica, Miss.
tknor i
TENOK II
BASS I
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inch an' inch till- a we get_ home
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KING JESUS IS A-LISEXIX'
Harmonirs exactly as sung by
The L'tica Jubilee Singers, L'tica, Miss.
Negro Spiritual
Taken down by J. ROSAMOND JOHNSON-
TENOR I
TENOR II
BASS I
BASS II
PIANO
All night long,
fM J' p B J' ; I I | I I l _ I
Jc - sus is a - lis -'on - in' AU night long,
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?fi'.lS-1i'.i
77
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76619-144
79
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76619-
80
MY LORD'S GOLV TO MOVE DIS WICKED RACE
Harmunu s exactly as sung by
Th< Ulica Jubilee Singers, L'tica, Miss.
Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
TENOR I
TENOR II
BASS I
BASS II
PIANO
iKM M II : I ? * ? fi [■
m
My Lord's goin' to move dis wick - ed
Nic - o - de - raus he de - sired to
Said to Mo - ses on de moun - tain
fe
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de -
Lord
m
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said to Mo
goin' to
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move
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sired to
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My Lord's goin' to move dis wick - ed
Nic - o - de - mus he de - sired to
Said to Mo - ses on de moun - tain
My Lord's goin' to move dis
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76619-U*
81
race, _
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7661!*-l!49
[ Rift ut fur othi r 1 1 rs' s
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Goin' to raise up a na - tion shall o
How^ can a man be born a
Goin' to stamp His law on Mo- ses' heart.
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W
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a man be born a
His law on Mo - ses'
v# i P P
bey.
gain._
he^irt. .
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Nic - o
My_
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Goin' to raise up a na - tion shall o - bey, that shall o - bey.
How_ can a man be born a - gain, be born a - gain.
Goin' to stamp His law on Mo - ses' heart, on Mo ses heart.
bey.
Goin' to raise up a na - tion shall o bey, that shall o
How_ can a man be born a - gain, be born a -
Goin' to stamp His law on Mo- ses' heart, on Mo- ses heart.
I Repeat for other verses
Goin' to raise
up a na - tion shall o - bey..
& ' ' My mamma says il you wanta be wisi
If you wanta be u
If you wanta b<- u i-.
My mamma says if you wanta be wi -.
Just b'lieve in Jesus .ind be baptized.
7661fc-148
LITTLE DAVID
SH
Harmonies exactly as sung by
T/ii I tica Jubilee Singers, Vticu, Miss.
Negro Spiritual
Tak.n down by J. ROSAMOND JOHNSON
2nd (inn
TENOR I
TENOR II
BASS I
BASS II
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Extra Verses— 3. When I git upon de mountain top
Goin' to make my wings go flip-tee-flop.
4. Done tol' you once, done tol' you twice.
Dere am sinners in hell— fo' shootin' dice.
•>6M». r»»
8fi
LORD, I DONE WHAT YOU TOD ME TO DO
Htirmonirs exactly as sung by
The Ulicajubilrt Singtrs, L'tira, Miss.
Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
Slov
TENOR I
TKNOR II
BASS I
BASS II
PIANO
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O, Lord. I done what you tol' me to
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Lord, Lord, I don<- what you toV me to do.
Lord, I
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O, Lord, I done what vou tol' me to do O Lord,
O, Lord, I
Lord, I done what you tol'_ me to do
O, Lord, I
Lord, I done what you tol' me to do
0, Lord, I
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7'.«19-1 «•*
87
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In- a dat
done what you tol' me. to do. In - a dat morn- in'- a, O, my Lord, In- a dat
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In -a dat morn- in'- a, 0. mv Lord, In - a dat
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morn-in'-a, O, my Lord, In- a dat morn-in' when de Lord say, "Hur-ry."
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morn-in'-a, O, my Lord, In - a dat morn-in' when de Lord say, ''Hur-ry."
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7»81»-llsl
88
NOBODY KNOWS DE TROUBLE I SEE
Harmonies exactly an sung by
The L'tica Jubilee Singers, Utica, Miss.
Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
TENOR I
TENOR II
BASS I
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De trou-ble I see, No -bod - y knows but
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molto roll i^\ ^
sec, Glo - ry hal - le - lu - jah!
hnipa
76f>lS-t;tl
NOW LET ME FLY
yi
Harmonies exactly ns Ming by
Thi I'tica Jubilee Singers, Utica, Miss.
Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
y.
TENOR I
TENOR II
IB
BASS I
BASS II
1
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7t.'.l»-149
93
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CHORUS
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New let me fly,.
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Now let me fly in- to Mount Zi - on, Lord, Lord._
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Now let me fly in- to Mount Zi - on, Lord, Lord. _ Now let me fly.
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O, MARY, DON'T YOU WEEP
Harm tii, s i xacily as sung by Negro Spiritual
Th Uticajubil. «■ S«'«£i r>. L'/i'ra, J/i'ss. Taken down by J. ROSAMOND JOHNSON
y
TLNOR I
ThNOR II
BASS II
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Ma - ry, don't you wei-p, don't you moan.
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O- Ma - ry, don't you weep, don't you moan.
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Ma - ry, don't you weep, don't you
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Ma - ry, don't you w.-.<p, don't
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O, Ma - ry, don't you Weep, don't
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°. Ma - ry, don't you weep, don't you moan. Lord - y,
7BK19-U*
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Pha- raoh's ar - my got drown - ded.
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Pha- raoh's ar - my got drown- ded.
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O, Ma - ry, don't you weep.
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O, Ma - ry, don't you weep.
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Pha- raoh's ar - my got drown- did. O, Ma- ry, don't you weep.
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Pha-raoh'sar - my got drown- ded. Lord-y, O, Ma - ry, don't you weep.
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2. Some o'dese morn - in's bright an' fair Goin' to hitch on my wings an'
l.Some o' dese morn-in's bout ten o' - clock, _
Urn
Dis ol' world is goin' to
fe
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3. When I git to heab'n gwineter put on my shoes, Goin' to run a-roun' glo-ry an 1 tell
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1st Verse i 2nd Tenor sing words other voices Hum.
2nd Vers*-.: 1st Tenor sing words other voices Hum.
;frd Vt-rse= 1st Bass sing words other voices Hum.
HhVerser 2nd Bass sing words other voices Hum.
76619- 149
try de ail
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Pha-raoh's ar - my got drown- ded.
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Pha-raohs ar - my got drown - ded.
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all de news
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O, Ma - ry, don't you weep.
O,
Ma - ry, don't you
O, Ma - ry, don't you weep
O, Ma - ry, don't you weep.
O,
Ma - ry, don't you
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Ma - ry, don't you
76*119-149
97
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weep, don't you moan.
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Pha-raoh's ar - my got drown - ded. O, Ma - ry, don't weep.
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16619-H9
9S
0, MY GOOD LORD
flin > txactly as siuig ' j Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
T/n Uticajubike Singers, Utica, Miss.
TENOR I
TENOR II
BASS I
-> ii' i r i f ii i ej
PIANO
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Show me de way. .
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Show me de way, .
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my good Lord,.
O, my good Lord,.
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Show me de way..
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Show me de way, En-ter dechar-i-ot,
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Show me de way, En-ter dechar-i-ot.
O, mygood Lord,.
En-ti-r de char-i - ot,
Show me de way.
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Sh-wme de way, En-ter dechar-i-ot.
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7S618-U9
99
y I 1. Omit aft' r 2nd t'trse
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trav- el a - long.
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trav- el a - long. _
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trav- el a - long._
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1. 01' No - ah sent out— a
O, trav- el a- long. 2.Gwine-ter serve- a my God while
3. Now when I get to heab'n gwine
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trav- el a - long..
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En- ter de char- i - ot, trav- el a - long.
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76B19-14H
100
En-ter de char- i - ot,
brought back a to - ken of a heab'n - ly love._
I kin- a serve my Je - sus af - ter death.
walk all o - ver my God's heab'n an' spread de news.
11. Repeat fur 2nd a nd 3r d verses
n.s. I
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trav-t-l a - long,
Show me de way,.
I 1. R fea t for 2nd and 3rd ursrs D S I
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Show me de way.
Show me de way, En-ter dechar-i-ot,
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En-ter dechar-i- ot,
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Show me de way, En-ter dechar-i-ot,
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trav- el a - long O, my good Lord —
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trav- el a - long
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7«61»-14»
102
Harmonies exactly as sung by
Tht Uticajubilee Singers, Utica, Miss
O, WASN'T THAT A MIGHTY DAY
Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
TENOR I
TENOR II
BASS I
BASS II
Igg^
mm
PIANO
&'\? i | : -
35
Might- y
Jor-
h, J^ J 1 F
day.
dan.
« »
Was- n't dat a might -y day?
Steal a - way Jor - - dan.
Might- y
Jor-
day.
dan.
K§'T3
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N
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^m
m
Great God a might-y
Jor - dan steal a
day
way.
(for rehearsal only)
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BB
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£
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Might - y
Jor-
day.
dan.
Wb- h K-s
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i a might - y day?
1 a - v. Jor - - dan.
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Might - y
Jor-
day.
dan.
>
p c n r p ^^
I a might-y. Was- n't dat
Jor - dan col' an' <:hil - ly, Why
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7«MS-Il'.i
103
fe
m
m
Might
Jor-
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=£=3l
p
Si
Was - n't dat -a might
Steal a - way Jor -
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Might - y
jor-
w m W w w m — * r "
-
might - y day, O Lord?_
don't you steal a - way?_
k£
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day?
dan.
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When
There's
Je - sus Christ was
one more riv- er to
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4-=—*-
day?
dan.
^m
day?
dan.
When Je - sus Christ was
There's one more riv-er to
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When Je - sus Chri.^t was
There's one more riv-er to
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Great God. a might- y day, _ When
Jor - dan, steal a - way,_ There's
Je - sus Christ was
one more riv-er to
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7fiM9-tVl
104
born.
/7\ Cadtnza ad lib.
?'w F p c F i T F' r p r f |, i | , | i | ,
born. Great God a-might-y when Je - sus Christ the babe of Beth -la- ham
Cs ^\ Cadtnza ad lib.
r r r r r n
born in cra-dle of ox man-ger to keep Hirn-self warm. Great God a-might-y day._
7eei9-tt«
105
nr
fe&E^
BB
Sing 1st verse; take last ending D.S.
ST
r\
mm
ig
cross.
3E
cross.
Cadenza ad lib.
W * ?' jl IT P f"M r D p P M P N =P
/CV^
Jor - dan riv-er deep an' wide, but you sho-'ly got to cross.
i
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Z). S. <o /as/ ending
? b 11
Cadenza ad lib.
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I Lasf fi'mc
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born.
1
n
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born.
TT
born.
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Born in Beth-la -ham of Ju - dea, Soon -a one a Sun- a- day morn - ing.
f
I Last time
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766l»-HP
106
PETER ON THE SEA
Harmonics exactly as sung by
Tin Utica Jubilee Singers, Utica, Miss.
Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
y.
TENOR I
TENOR II
BASS I
liASS II
PIANO
, Lively
gffil
PP
Pe-ter,
Ga-briel,
P
£
P=P
Pe-ter, Pe-ter on the sea, sea, sea, sea,
Ga-briel, Ga-briel, blow yo' trump, trump,trum- pet,
Pe-ter,
Ga-briel
Pe-ter,
Ga-briel
Pe-ter on the sea, sea, sea, sea,
Ga-briel,blow yo' trump, trump, trum -pet,
Wh^— =£
!£
Pe-ter,
Ga-briel,
Pe-ter, Pe-ter on the sea, sea, sea, sea,
Ga-briel, Ga-briel, blow yo' trump,trump,trum-pet,
C
• y' i > ft -
m at
m
m at
Pe - ter,
Ga-briel,
1
Lively
Pe-ter, Pe-ter on the sea, sea, sea, sea,
Ga-briel, Ga-briel, blow yo' trump,trump,trum-pet,
Pe - ter,
Ga-briel,
Pe - ter,
Ga-briel,
s&
Pe - ter on the sea, sea, sea, sea,
Ga-briel, blow yo' trump, trump, trum - pet,
^^
Pe - ter,
Ga-briel,
. 4f-f- -=^-^ =*=2^
Pe - ter,
Ga-briel,
Pe - ter on th
e sea, sea, sea, sea,
m^
Pe - t. r,
Ga-briel,
Ga-briel, blow yo' trump, trump, trum - j.rt ,
m
Pe - ter, Pe - t
r\\ Fl-, v° n the s " a ' 8 «- 8 «. sea,
Ga-bnel, Ga-br.el, blow yo' trump, trump, trum - pet ,
Pe - ter,
Ga-briel, Ga-briel, Ga-briel, blow '**' *"*' ***' "*•
Pe - ter, Pk - ter on th.- sea
yo' trump, trump,trum- pet,
7661*. lt»
107
1
Pe - ter,
Ga-briel,
P.- - ti-r,
Ga-briel,
Pi- - ter on the sea, sea. sea, sea,
Ga-briel, blow yo' trump, trump, trum- pet,
ftek
^
^m
p^P
m m
Pe. - ter,
Ga-briel,
Pe - ter,
Ga-briel,
Pe - ter on the sea, sea, sea, sea,
Ga-briel, blow yo' trump, trump, trum- pet,
^^
E
Pe - ter,
Ga-briel,
Pe - ter, Pe-ter on the sea, sea, sea, sea,
Ga-briel, Ga-briel, blow yo' trump, trump, trum - pet,
Pe - ter,
Ga-briel,
Pe - ter, Pe - ter on the sea, sea, sea, sea,
Ga-briel, Ga-briel, blow yo' trump, trump, trum- pet,
PlPPi
Wi
1 = 4=4=±
^-^ — * — ^
33
f
j -
m
r\
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« — »
m
jd:
Drop yo' net an'
Ga-briel, blow yo'
fol - ler,
trum - pet,
Drop yo' net an'
Ga-briel, blow yo'
fol - ler
trum - pet
I fibT p p ltJ=f—- ff — f 1 p |» li ^
me.
loud.
^
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Drop yo' net an'
Ga-briel, blow yo'
fol - ler,
trum - pet,
Drop yo' net
Ga-briel, blow
an
yo'
fol - ler
trum - pet
m
3
me.
loud.
£g
~vr
Drop yo' net an'
Ga-briel, blow yo'
fol - ler,
trum - pet,
Drop yo' net
Ga-briel, blow
an' fol - ler
yo' trum - pet
«
me.
loud.
■ m
P
-pz
ii n
T3Z.
Drop yo' net an'
Ga-briel, blow yo'
fol - ler,
trum - pet,
Drop yo' net
Ga-briel blow
an' fol - ler
yo' trum - pet
pm
H-^H
Daniel, etc.
Daniel in the lion, lion, etc.
Daniel in the lions' den.
Extra Verses
Who did etc.
Who did swallow Jonah, Jonah, etc.
Who did swallow Jonah whole?
me.
loud.
Whale did etc.
Whale did swallow Jonah, etc.
Whale did swallow Jonah up.
766H*. 1*9
108
Harmonies exactly as sung by
The Vtka Jubilee Singers, Utica, Miss.
RISE, SHINE
Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
TENOR I
TENOR II
BASS I
DASS II
*!'•>» ' I . '' I " i '' I ' II' I' I | i f=^=|
se an' shine; give God the glo - ry, glo-ry,
0,breth-er-en, rise,
ihine:
give God the glo - ry, glo - ry,
PIANO
O, rise an' shine ; give God the glo -ry, glo - ry,
O, rise an' shine; give God the glo-ry, glo-ry,
I
(For rehearsal only)
f=f=H=£
Rise, .
Rise,
Cise,
shine,
shine,
shine,
^ V J^ J
O,
f-frt
2 -
give God the glo - ry, glo - ry,
pHnm
give God the glo - ry, glo - ry,
give God the glo - ry, glo - ry,
Hium
t
an shine, _ give God the glo - ry, glo - ry,
M
=£
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76S1*. H»
109
m
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V v v v =ft
Rise,
shine,
give God the glo - ry, for the
m
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Rise,
shine,
give God the glo - ry, for the
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O, rise
an' shine, give God the glo - ry, for the
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V V V
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O, rise
an' shine , give God the glo - ry, for the
■9- P-
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% % % S I =■
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year of Ju - bi
O, do you
l t > b p ■!■ p ^
p (f f r ! < '' t p f f i
year of Ju - bi
lee.
O, breth-er - en, lee.
O, do you
5
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year of Ju - bi - lee.
lee.
O, do you
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£^g
lee
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lee
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year of Ju - bi
O, do
you
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31
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-v — ^ — ^ — >— p — ^=g
think I'll make a sol - dier.
think you'll make a sol - dier,
sol - dier, sol - dier, do you
sol - dier, sol - dier, do you
E^¥^
V
s
tea
£
p
J P {I
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think I'll make a sol - dier,
think you'll make a sol - dier.
sol - dier, sol - dier, do you
sol - dier, sol - dier. do you
„ t . a » p p
h~- V E=^ V— . g
m
think I'll make a sol - dier,
think you'll make a sol - dier,
sol - dier, sol - dier, do you
sol - dier, sol - dier, do you
Si
*
:£aE2
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think I'll make a
think you'll make a
sol - dier, sol - dier, sol - dier, do you
sol - dier, sol - dier, sol - dier, do you
4: J J: i> \m
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think I'll make a
think you'll make a
sol -dier, sol-dier, sol -dier, do you think I'll make a
sol-dier, sol-dier. sol-dier, do you tl: ink you'll make a
B^l- Jl r M M M c H-^r I f " r^
think I'll make a
think you'll make a
sol-dier, 6ol-dier, sol-dier do you think I'll make ,i
sol-dier, sol-dier, sol-dier, do you think you'll make a
' ?■=£ •—£ 1 P ^HHM ? -=fe f^4#H*=f =fi^
think I'll make a
think you'll make a
sol-dier, sol-dier, sol-dier, do you think I'll make a
sol-dier, so 1 -dier, sol-dier, do you think you'll make a
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think I'll make a
think you'llmake a
sol-d ! -dier. do you think I'll make a
sol-dier, sol-dier, :sol-dier, do you think you 11 make a
76619-119
Ill
tt=1=tt=tt- r -+? r = F^
I Repeat for verses
Ret
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w ' W — — w n
sol-dier, sol-dier, sol-dier
sol-dier, sol-dier, sol-dier
for the year of Ju - bi - lee? O, do you
for the year of Ju - bi - lee? O, do you
gi d^-E-p-^
fe^E
3
W=s=i
£
¥
sol-dier, sol-dier, sol-dier'
sol-dier, sol-dier, sol-dier
for the year of Ju - bi - lee?
for the year of Ju - bi - lee?
O, do you
O, do you
•^ .-M-P-M^
P P P U
^
:e
£
sol-dier, sol-dier, sol-dier
sol-dier, sol-dier, sol-dier
for the year of Ju - bi
for the year of Ju - bi
lee? O, do you
lee? O, dp you
P PP
&
m
2m
E
E
IE
^
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lee? O, do you
lee? O, do you
sol-dier, sol-dier, sol-dier
sol-dier, sol-dier, sol-dier
for the year of Ju - bi
for the year of Ju - bi
I Repeat for verses
¥
1
■ *
I
' rfa> **^g
% % %
fr-f-p-f
y
I after last verse
m
m
XZ l >—ri
£
V V V
lee .
O, rise an' shine , give God the glo-ry, glo-ry,
fe ^^jPF FF
3£
FT F y F F
2^
O. breth-er - en, rise,
shine ,
give God the glo - ry, glo - ry,
2EE£
£=£
f r i f r t r^f^
lee .
O, rise an' shine, give God the glo-ry, glo-ry,
y g r v g EEg
^
£
# — •
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— — »
» — 0-
ryry-y
1
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lee .
O, rise an' shine, give God the glo-ry, glo-ry,
aft: r last verse
3
Ml
m^
3*
^£
lm^
p r ■> p
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£
£
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Extra verses .
3. Humble hearts will make a soldier; etc.
4. Faithful prayers will make a soldier; etc.
76619-119
112
|Bi ?•' w
Rise,
m
P f f P F F P i r*
shine,
give God the glo - ry, glo - ry, Rise, shine,
£
p r p p M' g
^
Rise,
shine,
give God the glo - ry, glo - ry, Rise,
shine.
M * *
m
w
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5^
Rise
shine,
give God the glo-ry, glo-ry, O, rise, an' shine,
? TF?=£
# — **
f" — ^
r' I r' ^ ;z
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£
O, rise an' shine, give God the glo-ry, glo-ry, 0,rise, an' shine,
i
n:
^
f=f-^=E
^
f-i — u
^
Very slowly and broadly
l ' 1 i< f=s ;
I [p r p
give God the glo - ry for the year of Ju - bi
give God the glo - ry for Ihe year of Ju - bi
give God the glo - ry for th<- year of Ju - bi
Very slowly and broadly
-*• f =*=! < ? j n
f-f-f r
lee .
lee .
-TT-
lee.
TT
~T9
7«t;i9-n)(
RUN TO MY LORD
113
Harmonies exactly as sung by
The Utica Jubilee Singers, Ulica, Miss.
Very slowly
Cadenza
TENOR I
Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
TENOR II
BASS I
BASS II
PIANO
O,
Very slowly
^Cadenza
1. Christ - tans,
2. Mourn - er,
3. Sin - ner,
4. Read - y,
Christ - ians,
mourn - er,
sin - ner,
read - y,
What yer gwine-ter do when de
What yer gwine-ter do when de
What yer gwine-ter do when de
Be ye right an read - y when de
Lord
Lord
Lord
Lord
soun
soun'_
soun'_
soun'_
His
His
His
His
Si
trum - pet?_
trum - pet?_
trum - pet?_
trum - pet._
7M18-li'J
114
itzz^
Lively
^^
Moan.
Pray,
Run,
Read
moan
P«y,
run,
y,
moan,
pray,
run,
read
moan,
P r ay>
run,
y
moan
pray
run
for
to my
to my
•to my
my_
Goin' to moan,
Goin' to pray,
Goin' to run,
Goin' to be read
moan,
pray,
run,
y>
moan,
pray,
run,
read
moan
pray
Hi
moan,
pray,
run, run
y for
-lS>—
to my
to my
to my
my
^
Moan,
Pray,
Run,
Read
moan
pray,
run,
y.
moan,
pray,
run,
read
moan, moan
pray, pray
run, run
y for
to my
to my
to my
my
Goin' to moan, moan, moan, moan, moan, moan, moan,
Goin' to pray, pray, pray, pray, pray, pray, pray,
Goin' to run, run, run, run, run, run, run,
Goin' to be red, red, red, red, read - y Lord,
Lively
moan
pray
run
read -
to my
to my
to my
for my
Goin' to
Goin' to
Goin' to run,
Goin' to br read
moan
pray,
run,
y,
moan,
pray,
run,
read
moan,
pray,
run,
y
moan
pray
run
for
Goin' to moan
Goin' to pray,
Goin' to run,
Goin' to be read
moan,
pray,
run,
y>
moan,
Pray,
run,
read
moan,
pray,
run,
y
moan
pray
run
for
to my
to my
to my
my
Goin' to moan,
Goin' to pray,
Goin' to run,
Goin' to be read
moan,
P r ay,
run,
y.
moan,
P r ay,
run,
read
moan,
pray,
run,
y
moan
pray
run
for
to
to
to
my
O,
o,
o,
o.
moan, Goin' to moan.moan, moan, moan, moan, moan, moan, moan
pray. Gointo pray, pray, pray, pray, pra ; pray, pray, pra y
run Goin to run, run, run, run, run, run, run, run
Lord,Gointobered, red, red, red, read - y Lord read -
to
to
to
for
Lord,
Lord,
Lord,
Lord,
Lord,
Lord,
Lord,
Lord,
Lord,
Lord,
Lord,
Lord,
Lord,
Lord,
Lord,
Lord,
to my Lord,
to my Lord,
to my . Lord,
my Lord,
Lord,
Lord,
Lord,
Lord,
my Lord,
my Lord,
my Lord,
— Lord,
my Lord,
my Lord,
my Lord,
my Lord,
768111-149
Goin' to moan,
Goin' to pray,
Goin' to run,
Goin' to bo read
moan,
pray,
run,
y.
moan,
pray,
run,
read
e£
moan,
pray,
run,
y
moan
pray
run
for
lo my Lord,
to my Lord,
Lo my Lord,
my Lord,
r^T
s
-'
^m
Goin' to moan,
Goin' to pray,
Goin' to run,
Goin' lo bo read
Goin' to moan,
Goin' to pray,
Goin' to run,
Goin' to be read
'*M J P P p p p f^'U
moan,
pray,
run,
y.
moan,
pray,
run,
y,
moan,
pray,
run,
read
moan,
pray,
run,
read
moan,
P r ''>'.
run,
y
moan,
oray,
run,
y.
moan
pray
run
for
moan
pray
run
for
to my Lord,
to my Lord,
to my Lord,
my Lord,
to my Lord,
to my Lord,
to my Lord,
my Lord,
Sing it
Sing it
Sing it
Sing it
o - vcr, Goin' to moan,moan,moan,moan,moan,moan,moan, moan ' to
o - vcr, Goin' to pray, pray, pray, pray, pray, pray, pray, pray to
o - vcr, Goin' to run, run, run, run, run, run, run, run to
o - ver, Goin' to be red, red, red, red, read-y, Lord, read-y for
my Lord,
my Lord,
my Lord ,
my Lord,
76819-11*
116
STEAL AWAY TO JESUS
Harmonies exactly as sung by
The Utica Jubilee Singers, Utica, Miss.
Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
TENOR I
TENOR II
BASS I
BASS II
Slow -with expression
g^
PIANO
P^P
eN^
Steal
a - wa
y, steal a - way to Je
-
Steal a
m
way, steal a - way to Je
Slow-with expression
1
Steal a - way, steal a - way, steal a - way to Je - sus,
Steal a - way, steal a - way to Je - sus
With spirit
Ft at
Steal
a - way, *teal a-way home. I ain't got long to stay he.
Steal
k-ay, steal, away home. I ain't got_ long to stay
With spirit
hi r. .
Fine
76819- 14»
117
g
With vigor
W ij :
My Lord, He
Green trees am
calls me, He calls me by de
bend- in' Po' sin - ner stan' a
thun - der, De
trem - blin', De
ai
m
With vigor
*
*
»
£&
g
D. S.
tff ^ 1 ^ ^i
jzi
r t r
B' y r M -HH ^
Soul, I ain't got long to stay_
3~ rs
here.
r r ' "
ai
trum-pet sounds with-in a- my soul,
trum-pet sounds with-in a- my soul,
C\
I ain't got long to stay
n tJ
^
here.
£
m
Soul, I ain't got long to stay
32T
i
here.
£
P^f
"22
ff^-EF
Soul, I ain't got. long to stay
»
here.
D. S.
ir \r
r
S
r - J ma
Pm ■
^
1
76619 :4 9
118
SWING LOW, SWEET CHARIOT
Harmonies exactly as sung by
The Utica Jubilee Singers, l'tica,Miss.
Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
TENOR I
TENOR II
BASS I
BASS II
PIANO
fe
2±L
^m
l> F P P l> 'f
Com- in' fo' to car- ry me
8^
Jm-j. I J'J^l l
■ ■
fc
Swing low, sweet char- i - ot, Com-in' fo' to car- ry me
^H+-«
m #
Com-in' fo' to car- ry me
Wtt II :
V
js j. j> j. p-p-r
Com-in' fo' to car- ry me
^fep
(For rehearsal only)
mm
£
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■=r
^
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home,..
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home, Swing low, sweet char- i - ot,_ Com-in' fo' to car- ry me home. Oh,
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home,
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home. I
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look o - ver Jor - dan an'
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of an ' gels
my friends I'm
•m m m p p r i r
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home,-
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com- in' af - ter me,,
com - in' too,.
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Com- in' fo' to car- ry me
home. If
Com- in' fo' to car- ry me home.
Com-in' fo' to car- ry me home.
home.
Com-in' fo' to car- ry me
home. Swing low. sweet char- i - ot, Com-in' fo' to car- ry me
home.
P P P P T
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homt
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;«6'9-M«>
121
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home..
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fti^ 1 ' p p p ^ ^
Un piu mosso ___^
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home. Fond be-liev- er, De char- i - ot's com-in'fo' to car - ry me home,
home.
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home.
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sweet char - i - ot,
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Char-i - otW com -in' fo' to car- ry me home,
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home.
Char-i - ot's com- in
Un piu mosso
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fo' to car- ry me home,
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7fi«H3-U»
122
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ar- i - ots com-in' fo' to car- r
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sweet char - i - ot, Com-in' fo' to
car - ry me
Char- i - ots com-in fo' to car- ry me home, Com-in' fo' to
car- ry me
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123
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p p p p I g ig
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sweet char - i - ot, Com-in' fo' to car- ry
Char-i-ot's com-in' fo' to car-ry me home, Com-in' fo' to car-ry me
f w m r ff M ' Hn ' ' . ' i
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home,
home, .
home,.
home,.
Slower
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Com-in' fo' to car- ry me home.
Com-in' fo' to car- ry me home..
Com-in' fo' to car-ry me, car-ry me home.
Com-in' fo' to car- ry me home.
Slower
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124
WALK IN JERUSALEM JUS' LIKE JOHN
Harmonics exactly as sung by
The Utica Jubilee Singers, Utka,Miss.
TENOR I
Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
TENOR II
BASS I
BASS II
I want - er be read -
PIANO
I want - er be read -
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I want - er be read - v
I want - er be read -
y to walk in Je- ru-sa-l.-ni jus' lite John. YeB,
I want- er be read - y to walk in J. - ru- sa - lem jus' l.ke John. Yes,
I want - er be read -
y to walk in Je-ru-sa-lem jus' like John. Ye*,
7<iM'J-I4?
125
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I want - e r be re ad - y, I want - er be read - y, I want - er be
J J J'JlJ
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read - y to walk in Je - ru - sa - lem
(1.) John
jus' like John. (2.) Oh,
(3. When
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read y to walk in Je - ru - sa - lem jus' like John.
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126
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Walk in Je- ru-sa-lem jus' like John.
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said de cit - y was jus' four square,.
John, oh, John, what do you say?
Pe-ter was preach- in' at Pen-ti - cos',
(1.) An'
(2.) Dat
(3.) He
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he de - clared he'd meet me dere._
I'll be dere on de com- in' day.
was en- dowed wid de Ho- ly Ghos'.
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7H6M-JVI
\Last tin
Final Chorus slower
127
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I Last time I Final Chorus slower
I want - er be read - y,
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128
WHERE SHALL I GO
Harmonies exactly as sung by
Th<- I'tica Jubilie Singers, L'tica. Miss.
Negro Spiritual
Taken down by J. ROSAMOND JOHNSON'
TENOR I
TENOR II
fe^ j i ||
2nd time
BASS I
BASS II
PIANO
EE
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Where shall I go,
Where shall I go,
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O where shall I go,.
2nd time
Where shall I go,.
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Where shall I go,
Where shall I go,
y-ih> n n i. j. j^y i c p p J i
Where shall I go, Lord, where shall I go,
A_4r II-' J- ^
(/or rehearsal only)
1 - 1 -4
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shall I go for to case my trem-bal-in' mind?
Where shall I go for to ease my trem-bal-in' mind? O
Where shall I go for to ease my trem-bal-in' mind?
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Where
shall I go for to case my trem-bal-in' mind?
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7«61S»-l'i9
129
fe E
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case my trem-bal-in' nnr.d?
fei# ;, }, yi&
ja w p f , l b e^es?
case my
trem-bal-in' mind? 1 want- a go to heab-'n an' I want- a go right
case my trem-bal-in' mind?
To
ease my trem-bal-in' mind?
j^MM*- V W-
I got -ta keep a - pray - in' both day an' night..
case mv trem-bal-in' mind.''
^M-ff
ease my trem-bal-in' mind?
Extra verses: 2. 0, de hcabin's so high an I'm so low-
To ease my trembalin' mind.
I don't care whether I ever get to heab'n or no-
To case my trembalin' mind.
3. Dere's star in dc cas' an a star in do wes' —
To ease my trembalin' mind.
I wish-a dat star was in my brcas'
To ease my trembalin' mind.
7H*i»-n*
ease my trem-bal-in' mind? Where shall I
g°>
Where shall I go,
Me
i n
whcrc_shall I go, Where shall I go,
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case my trem-bal-in' mind? Where shall I go,_ Where shall I go,
■^i' r i 1 nt l
case my trem-bal-in' mind? Where shall I go, _ Lord where shall I g7,_
Where shajl I go for to case my trem-bal-in' m.nd?
lb pi/ ■• ft ^
When _ shall I g0 _ to case my trem-bal-in' mind?
am
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Where shall I go f or to case my trem-bal-in' mind?
m
76619-liv
WITNESS FOR MY LORD
131
Harmonies exactly as sung by
'flu i'tica Jubilee Singers, Utica, Miss.
Nugro Spiritual
Taken down by J. ROSAMOND JOHNSON
TENOR I
TF.NOR II
BASS I
BASS II
PIANO
i ff^N— v
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For my Lord,.
K' t r P i' r ^^^
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For my Lord,.
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for my Lord.
for my Lord —
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s.oul_ ib a wit- ness for my Lord,_ O, my for my Lord — Now you
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died an' went to heab - 'n, Lord,
in - a due time 0, Ma
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thus-'la was a wit- ness for my Lord, 0, Ma- thus-'la was a wit
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for my Lord._ O, Mj - for my Lord.- Now you read in dc Bi - blc an' you
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un - dcr- stan' Sam-son was dc strong-es' man._ Sam-son went out.
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7»iH19-tt!l
136
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dcHo-ly Bi - ble tells— us so She bha\ed ol'f his hair jes' as
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137
Sam -son was a wit - ncss for my Lord,_ Yes, Sam-son was a wit - nets
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for my Lord —
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»661»-t*8
138
What's dat a- rum - ba-lin' in do air?_ Mus' be my Jo
sus pass. - in' dere.
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139
life
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for roy Lord._
for my Lord
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for my Lord.
7fi«l»-14<)
_
143
molio rail
For my Lord,_ 0, who'll be a wit-ness for my Lord? Now
molio rail
x very slow
&
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who'll be a wit-ness for my Lord? Who will be a wit-ness for my Lord?
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who'll be a wit-ness for my Lord? "Who will be a wit-ness for my Lord?
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very slow
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WR19-149
144
LEANIN' ON DE LORD
Harmonics txacty as sung by
The Utica JubiUe Singers, Utica, Miss-
Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
Moderato
TENOR I
TENOR II
BASS I
BASS II
PIANO
131
^
'
1. Tell
in
*v
^
Moderato
^m
l.When
m
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how
feel
feel
soul
did
like
like
feel
you
a
a
a
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pray
shout
hap
in'?_
in'?.
py?_
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(For rehearsal only)
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3. Yes, I
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didn't I
didn't I
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2. Yes, I
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4. Ye>. I
de wil - der - ni'S?
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did, oh, didn't I
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76blS*- K.9
145
come out
pray in
shout
cry
in
in
s
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come out
pray in
— shout in
cry in
pray
shout
cry
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in
in
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de wil - der - ness,.
de wil - der - ness?.
de wil - der - ness?.
de wil - der - ness?
When you
Tell me how did
Did you feel like
Did you feel like
Did your soul feel
you
a
a
a
feel?,
shout
pray
hap
in'?,
in'?.
py?_
if F f r
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de wil - der - ness,_
de wil - der - ness?_
de wil - der - ness?_
de wil - der - ness?_
When you
3=£
de wil - der - ness,_
de wil - der - ness?-
de wil - der - ness?_
de wil - der - ness?_
When you
out de wil - der - ness, Lean - in' on de Lord. I'm
a:
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Lean - in' on de Lord. I'm
come out de wil- der- ness, Lean - in' on de Lord. I'm
7661&-149
146
lean - in' on de Lord, I'm lean - in' on de Lord, I'm
fcj J r J 1
• J- I J.
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lean - in on de Lord, I'm lean - in' on de Lord, I'r
§3
r r m f r
Mr r i
lean - in' on de Lord, I'm lean - in' on de Lord, I'm
lean - in' on de Lord, I'm lean - in' on de Lord, I'm
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lean- in' on de Lord Who died on Cal - va - n
T-
lean- in' on de Lord Who died on Cal- va - ry. 2. Did you ry.
3. Did you
4. Did your
lean- in' on de Lord Who died on Cal- va - ry.
«T-
lean- in' on de Lord Who died on Cal -
va - ry. ry-
I Rfpjcat ad lib. Il Last time I
■>081»-U»
YOU BETTAH MIND
14?
Harmonies exactly as sung by
The Vtkajubilie Singrrs, L'iica, Miss.
*
Negro Spiritual
Taken down by J. ROSAMOND JOHNSON
TENOR I ygj > |-j---|f;-^ f { \ $ f fl
TENOR II
BASS I
BASS II
0, you bet-tah mind,.
n J I I - * r J''
7^1
3E
v r y r>
O, you bet- tah mind,.
you bet- tah mind,.
nil i-
) r i p r p
^ r - ^
O, you bet-tah mind,
O,
^M-J-H
f» (• (S ^
P 1 V
PIANO
O, you bet-tah mind,.
*
m
h J In J-
l/o/' rehenrsalonljf)
fT
^^
S
mc
p r p r-
^
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■h J ^
-
; IH M H P ^
o,
Lord, — you got to give an ac - count on de
Km
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P
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You got to give an ac - count on de
S^
t P P P P
^
E
you bet - tah mind, you
got to give an ac - count on de
m
P P P
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^^
■
you bet - tah mind, you
got to give an ac - count on de
^^
i i i i i J m
m
r
p— r p
^vp r, p
f-f-F- r r g
?S«I»-1«9
148
te
'ft f > : l p p *' ^
~rr
jedg-ment morn-in'; You bet - tah mind, you bet^ tah mind. You bet - tah mind..
jedg-ment morn-in'; You bet- tah mind,
0, You bet - tah mind.
m:
r 'p r p
jedg-ment morn-in'; You bet - tah mind, you bet- tah mind. You bet - tah mind
?!.
-
r r J ^
m
m m
jedg-ment morn-in'; You bet -tah mind,
~TJ-
You bet - tah mind.
7 r v r
1 V.u bet - tah mind how you talk,_ You bet - tah mind what you
you walk,. You bet - tah mind where you
lind what you
3. You bet - tah mind how you ning,'_ You bet - tah mind
786U-14S*
149
&
F P" P P p r p— r
Got to give an ac - count on de
fr J^ J^ J lv
)> J> ^ ^ Jl
^
^
talk - in' a - bout,
walk - in' to
sing - in 1 a - bout,
You got to give an ac - count on de
M
m p
^^
Got to give an ac - count on dt
m
p p p p p r p p
s
Got to give an ac - count on de
i J. j i i j W
^
^
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i
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te
I Repeat ad lib. §6 Last— lime
m m
^=^
i
r r ' p r
j
T| J
jedg- ment morn - in'; You bet - tah mind..
IBS
r\
^m
?
^^
* w
* r J
jedg- ment morn - in'; You bet - tah mind..
k h r r r
^
r ' p r p
IZZ
jedg - ment morn - in'; You bet
m
tah mind..
/?\
^^
jedg- ment morn - in'; You bet - tah mindiT
<M i J J
j i J i
I Hej>eat ad lib. ^Zast^ytime 1
~T¥~
M f J J
j> i Ji *:
/Ts
3:
-CT~
Extra verses.
4. You bettah mind how you smile, etc.
You bettah mind what you smilin' about, etc.
5. You bettah mind how you teach, etc.
You bettah mind how you preach, etc.
76619-149
William H. Holtzclaw Library
Utiea Junior CoJkf«
Utica,MS^175
^H.Hotedaw Library
^^a. MS 39175
\
Wttlcw H. fWteclaw Library
frtca,M5 39176
I
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